2441 lines
171 KiB
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2441 lines
171 KiB
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BABBITT'S PRINCIPLES OF LIGHT AND COLOR.— Plate IL
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CHROMATIC HARMONY OF GRADATION AND CONTRAST.
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CONTRASTING
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Chromatic Colors placed opposite those which ANALOGICAL
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HARMONY FORM a Chemical Affinity with them HARMONY
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In the above elaborate combination satlrtohnogu,gduhede,tthceh.cehrhoFamosratimdceasncycroilpobtreisaonutsitofafunldpilanatgneds
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of colors the artist ouspteuertepopo.tibn6r3ti,sl.l6i5a,nTthl6ey6,,
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has found it impossible to get every feature accurate, gt6rh9ae,ys7r1e,odn,etcbf.ootrhiTnhpseltaatnsecpsee,cIt.riaanndatrheeIId.hesoacruersieb,neodtfisogu.nff6pi,.cieb2ne1t7il.nyg sutbo-o
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\ ■.
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THE
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PRINCIPLES OF
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LIGHT
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AND
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COLOR:
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INCLUDING AMONG OTHER THINGS
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THE HARMONIC LAWS OF THE UNIVERSE, THE
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ETHERIO- ATOMIC PHILOSOPHY OF FORCE, CHROMO CHEMISTRY, CHROMO THERAPEUTICS, AND THE GENERAL PHILOSOPHY OF THE FINE FORCES, TOGETHER WITH NUMEROUS DISCOVERIES AND
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PRACTICAL APPLICATIONS.
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ILLUSTRATED BY 204 EXQUISITE PHOTO-ENGRAVINGS, BESIDES FOUR SUPERB COLORED PLATES PRINTED ON SEVEN PLATES EACH.
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By EDWIN Dr'i^ABBITT
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' Study the Light ; attempt the high ; seek out The Soul's bright path." — Bailey.
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NEW YORK BABBITT & Science Hall, 141 Eighti
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1878.
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Copyright, BABBITT & CO..
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1878.
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PREFACE.
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The preface of my work is like a Hebrew book ; it begins at its very end. Having spent several years in developing this large vol-
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ume, what is my excuse for thrusting it out upon mankind ? None at all unless human knowledge and upbuilding can be enhanced thereby.
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Am I laboring under a vain delusion when I assert that no science whatever, excepting pure mathematics, has thus far reached down to basic principles — that in spite of the wonderful achievements of exper-
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imental scientists, no definite conceptions of atomic machinery, or the fundamental processes of thermal, electric, chemical, physiological or psychological action have been attained, and that because the correla-
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tions of matter and force have been misapprehended? If I am deluded and cannot depend upon the thousand facts that seem to sustain me and clear up so many mysteries, it is certainly a sad matter, for then no one will be made the wiser for my labors ; if I am right, and so many scientists are wrong in their conceptions of force, then too there is a melancholy side to the question, for great will be the trouble of having to pull up old stakes and put down new ones, and some opinionated persons will be so indignant at having dear old beliefs attacked, that if unable to demolish my facts in fair discussion will present one-sided views of them, or attack the author himself. I hope and pray that I may be duly abused, however, by all such crys-
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tallized conservatives, otherwise it will show that my efforts to advance this great cause of truth have been but feeble. After all, if this work shall develop some new and better foundations of scientific truth, sci-
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entific men themselves should rejoice at it even if it does cause a little trouble to adjust themselves to new conditions, for the more truth they get, the more luminous and triumphant will their pathway of progress become, and they will be able to build a superstructure upon these new foundations that is far more magnificent than any which my own limited efforts could achieve.
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My discovery of the form and constitution of atoms, and their working in connection with etherial forces to produce the effects of hcat, cold, electricity, magnetism, chemical action, light, color, and many other effects, was announced during our centennial year, 1876, in some New York and Chicago papers, and my ideas have been brought to still further maturity since. Having acquired this knowl-
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edge, itseemed quite possible at last to crystallize the subjects of
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vin
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PREFACE.
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Light, Color, and other Fine Forces into a science, and learn their
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chemical and therapeutical potencies as well as many of their mystic relations to physical and psychological action.
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Before reaching out into the unknown and invisible it was important to establish briefly the laws of the known and visible, the misap-
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prehensionofwhich has led scientists into various errors, as it seemed to me, hence my first chapters. Before being able to understand
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Light and Color, with any exactness, it was absolutely necessary to investigate the working of atoms, and the general laws of the fine forces,
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so that we may not always have to move in the dark when considering
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them. Hence my chapter on the Etherio-atomic Philosophy of Force. Whatever may be thought of my details of atoms, it seems quite im-
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possible that a thoughtful mind should dispute the correctness of their
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general features, so absolutely capable are they of being demonstrated
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by facts. It is quite time that the wonderful world of light and color which
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is invisible to the ordinary eye, and which is capable of being demonstrated byspectrum analysis and otherwise, should be made known,
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especially as so many mysteries of nature and human life are cleared up thereby, and such marvelous powers of vital and mental control are revealed.
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I would especially ask one favor of all critics, which is, that they \vill examine and weigh well all departments of the work before they condemn, for it has cost too much thought and careful investigation
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to have it rudely and hastily passed upon. Comprising, as it does, so large a field of heretofore untrodden ground, there certainly must be some errors in spite of all my great care and desire for exact truth.
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I have chosen a diluted sky-blue tint for my paper, not only because it is soothing to the nerves of the eye, but as I deem it,
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handsome. Calendered white, or yellowish paper is known to be irritating tothe retina.
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The beautiful engravings of this work, many of which have the steel plate finish, have been executed by the sun under the control of the Photo-Engraving Co., 67 Park Place, N. Y. For the very careful and conscientious labors of this company I am greatly indebted. The Superintendent, Mr. J. C. Moss, was the first, I believe, to bring these finest solar relief plates into practical use.
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I owe a word of acknowledgment also to Mr. John Fahnestock, of 25 Rose St., N. Y., for the colored plates, which for beauty I have not seen surpassed on either side of the ocean.
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EDWIN D. BABBITT. Science Hall, N. Y.
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CONTENTS.
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CHAPTER FIRST.— HARMONIC LAWS OF THE UNIVERSE. I. Light, I. — II. Nature our Guide, i. — III. Unity, 3. — IV. Diversity, 11.
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— V. Harmony, 12. — VI. Gradation or Progression, 16. — VII. Contrast, 23. — VI 11. Harmony of Analogy, 31. — IX. Violent Contrasts contrary to Nature's General Laws, 35. — X. Nature's unrestricted Growth never dis-
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cordant, 36.— XI. All unrestricted Growth exemplifies Moral Perfection, 38. — XII. The Law of Perfection, 40. — XIII. Adaptation or Fitness, 49. — XIV. Truth, 53.— XV. Refinement of Material, 54.— XVI. Gradation of Instrumentalities, 56. — XVII. Division of Colors, 58. — XVIII. Triad of Primary Colors, 61. — XIX. Triad of Secondary Colors, 61.— XX. Triad of Achromatic Colors, 61. — XXI. Triad of Primary Grays, 62. — XXII. Triad of Secondary Grays, 62. — XXIII.Trinal Division of Tints and Shades. 6623.. —— XXXXVIIV.. TTrriiandal ofDivCiolsoirosn, oTfonHeuses,an6d2. F—orXmXsV,. 64N.o—meXnXcVlIaIt.ureHaorfmoConlyors'o,f Gradation in Colors, 65. — XXVIII. Gradation of Color in the Spectrum, 66. — XXIX. Harmony of Contrast in Colors, 69. — XXX. Harmonic Colors in Architecture, 71. — XXXI. Colors in Dress, 73.— XXXII. Colors in Flori-
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culture,74.— XXXIII. Synopsis of Harmonic Laws, 76. CHAPTER SECOND.— INSUFFICIENCY OF THE PRESENT
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THEORIES OF LIGHT AND FORCE.
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I. Science and Philosophy should be combined, 80. — II. Basic Principles not yet reached. Cohesion, 81.— III. Chemical Affinity, 81.— IV. Electricity, 82. — V. Gravitation, 82. — VI. Physiology and Psychology, 83. — VII. Light and Color, 83. — VIII. Colors must be Formulated by Law, 84. — IX. How is Light projected so far.? 85. — X. How explain Chromatic Phenomena? 85. — XI. Chemical and Therapeutical Properties of Color, 86. — XII. Shadow is an Entity, 87. — XIII. Correct Science requires a Knowledge of Atoms, 87. —XIV. The Dynamic and Material Theory, 87.— XV. Faraday, 88.— XVI. Lord Bacon, 90.— XVII. Locke and Tyndall, 90.— XVIII. Kant, Fichte, Schelling, etc., 90. — XIX. The Laws of Optics, 91.— XX. New Worlds of Light and Color, 92. — XXI. Summation of Points, 92. CHAPTER THIRD.— THE ETHERIO-ATOMIC PHILOSOPHY
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OF FORCE. I. Atoms, 94. — II. Force, 94. — III. The Size of Atoms, 94. — IV. The Form of Atoms, 95. — V. The Heat end of Atoms, 99. — VI. Nature of Atomic Spinals, 100. — VII. General Features of Atoms, loi. — VIII. Thermo Spirals, 105. — IX. Ethereal Forces, 106. — X. The Primate of Force, 107.— XI. Different Grades of Ether, 107. — XII. Ethers have Weight, 114. — XIII. Polar Cohesion of Atoms, 114. — XIV. Lateral Cohesion, 115. — XV^ The Unity of Atoms, 116. — XVI. Converse Layers of Atoms, 117. — XVII. Transverse Layers of Atoms, 117. — XVIII. Laws of Atomic Combination, 117. — XIX. Paraverse Layers of Atoms, 119. — XX. Crystalloid and Amor-
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phous Bodies, 120. — XXI. Heat and Cold, 120. — XXII. Atomic Divisions, 121.— XXIII. Cohesion, 123.— XXIV. Different kinds of Electricity, 124. — XXV. Frictional Electricity, 124. — XXVI. Chemico Electricity, 125. — XXVII. Galvano Electricity, 126. — XXVIII. Magneto Electricitv, 126. — XXIX. Chromo Electricity, 127.— XXX. Magnetism, 129.— XXXI. Diamagnetism, 132.— XXXII. Phosphorescence, 135.— XXXIII. Fluorescence, Calorescence, etc., 136.— XXXIV. Galvanism, 139.— XXXV. Direction of Frictional Electricity, 142.— XXXVI. Positive and Negative Electricities, 142.— XXXVII. Chemical Affinity, 145.— XXXVIII. Are Atoms Animals.? 151-— XXXIX. Count Rumford and the Dynamic Theory, 152.— XL. Weight and Specific Heat of Atoms, 155. — XLI. Latent and Sensible Heat, 157. — XLII. Theories of Atoms, 158. — XLIII. Summation of Points, 161.
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X
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CONTENTS.
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CHAPTER FOURTH— THE SOURCES OF LIGHT. I. Introductory Point, i66.— U. World Formations, i66. — HI. Nebu-
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lous Matter, 167. — IV. The Sun Forming Process, 168. — V. The Planet Forming Process, 169 — VI. Comets, 170. — VII. Refinement of Matter, 172. — VIII. The Atmosphere of Space, 175. — IX. Aurora Borealis, 180. — X. Ter-
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restrial Forces, i8i. — XI. The Solar Atmosphere, 185. — XII. Faculse and Spots on the Sun, 188. — XIII. Solar Statistics, 190. — XIV. Sun Power, 190. — XV. The Production of Light, 193. — XVI. Constitution of the Atmos-
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phere, 194.— XVII. How Color Effects are Produced, 196. — XVIII. Shadow as an Entity. 198. — XIX. The Moon, 109. — XX. Planets and Fixed Stars, 202. — XXI. Combustion, 203. — XXII. Flame, 204. — XXIII. Smoke, 206.— XXIV. Non-luminous Flames, 206.— XXV. Coal Gas, 207.— XXVL Kerosene and Coal Oil, 207. — XXVII. The Oxyhydrogen Blow-Pipe, 208. XXyill. Calcium Light, 208.— XXIX. Electric Light, 209.— XXX. ElecSponttarinc'eCoanudsle, C21o2m.bu—stXiXoXnI,, 215H.eat of Various Combustibles, 214. — XXXII.
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CHAPTER FIFTH.— CHROMO CHEMISTRY. I. Character of Spectrum Analysis, 216. — II. The Spectroscope, 218. III. Metals discovered by the Spectroscope, 219. — IV, The Spectrum, 220. — V. Laws of Color and Phenomena of Spectrum Analysis, 222, — VI. The Spectrum of an Element, 224. — VII. Chemical Repulsions and Affinities, 225. — VIII. White or Light Gray Elements, 226, — IX. Spectra of White Colors, 227. — X. Spectra of the Alkaline Metals, 228. — XI. Spectra of other White Metals, 229. — XII. Spectra of Blacker Dark Elements, 230. — XIII. Spectra of Elements with Gray or neutral Colors, 231. — XIV. Spectra of Elements with Positive Colors, 232. — XV. Spectra of Transparent Substances, 234, — XVI. The most Powerful Substances, 235. — XVII. Transparent Fluids, 235. — XVIII. Transparent Solids, 238. — XIX. Chro-
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matic Repulsion, 239. — XX. Chromatic Attraction, 243. — XXI. The Material of Sunhght, 259. — XXII. Metachromism, or Color Change, 264. — XXIII. Proofs of other Octaves of Color, 270. — XXIV. Color as related to Taste, 2ma7tio4n o.fP—oinXtXsV.in CChormopmloexiCohnemiasstrrye,lat2e7d6. to Sunlight, 275. — XXVI. Sum-
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CHAPTER SIXTH.— CHROMO-THERAPEUTICS, OR CHROMOPATHY.
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I. The Heahng Power of Color, 279. — II. Comparative Fineness of Heahng Elements, 279. — III. Healing Power of Red, 280. — IV. Healing Power of Red Light, 282. — V. When the Red is injurious, 284- — VI. The Healing Power of Yellow and Orange, 286, — VII. Emetics — Yellow with some Red and Orange, 286. — VIII. Laxatives and Purgatives— Yellow the Principal Color, or Red in Drastic Purgatives, 287. — IX. Healing Power of Yellow Light, aided by some Red and Orange — Laxative, Animating, &c., 290. — X. Diuretics, Diaphoretics, Emmenagogues, etc. — Yellow aided by a considerable Red. 293. — XI. Cerebral Stimulants — Yellow with some Red and Orange, 294. — XII. Tonics — Yellow and Red Predominant, 295. — XIII. When Yellow is injurious, 295.— XIV. Heahng Power of Blue and Violet — Nervine, Astringent, Refrigerant, etc., 298. — XV. Healing Power of Blue and Violet Light — Nervine, Anti-inflammatory, etc, 302. — XVI. Heal-
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ing Power of Blue and White Sunhght, 308.— XVII. When Blue and Violet are injurious, 321. — XVIII. Healing by means of substances charged with Blue Light, 322.— XIX. Heahng powers of Pure Sunlight, 326.— XX. Dis-
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astrous Effects of a Lack of Sunlight, 329.— XXI. When Sunlight is injurious, 333.— XXII. Sleep Producing Elements, 334.— XXIIL Practical Instruments for Color Healing, 343, — XXIV. Heat Transmitted by Colored
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CONTENTS. XI
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Substances, molume in
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340.--XXV. The Chromolume, Healing, 343.— XXVII. Chromo
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341.— Disc,
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XXVI. Use of 347.— XXVIII.
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the ChroGeneral
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Healing with the Chromo Disc, 348. — XXIX. Hints for Treating Special
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Diseases with Chromo Disc, 349. — XXX. The Chromo Lens, 356. — XXXI.
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The Solarimn, 364.— XXXII. The Hygiene of Color in Dress, 365.
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— XXXIII. The General Vagueness of Idea concerning Colors, 367. —
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XChXrXoImVo. ThAeraWpoeurtdicst,o 3P7h4.ysicians, 373.— XXXV. Summation of Points in
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CHAPTER SEVENTH.— CHROMO CULTURE OF VEGETABLE LIFE.
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I. Review of Ground already Covered, 378. — II. Germination, 378. — III. Healtthivye FuGncrtoiownthof aPbloavnets,Gr3o8u1n.d—, V.380.Bl—ueIV.anFdlorTersacnesnpcaereanntd GtlhaessRefporroduHco-t Houses, 382— VI. Marvelous Vegetable Growth, 384. — VII. Plants which be-
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come withered and parched, 386. — VIII. Insect Life as influenced by Colors, 387.— IX. Effects of Light and Shadow on Plants, 388.— X. Light of Plants, 389. — XI. Affinities and Repulsions of Plants, 389. — XII. Color as related to Fragrance, 389. — XIII. Adaptation of the Seasons to Vegetable Growth, 390. — XIV. Summation of Points, 391.
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CHAPTER EIGHTH.— CHROMO PHILOSOPHY.
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I. Plan of this Chapter, 393. — II. Refraction, 394. — III. Reflection of Light, 397. — IV. Absorption, 400. — V. Transparency, 402. — VI. Polarized iLnighCth,ro4m04o. —PhViIlIo.sopThhye, U4n1d4u.latory Theory, 410. — VIII. Summation of Points
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CHAPTER NINTH.— CHROMO DYNAMICS, OR HIGHER GRADE LIGHTS AND FORCES.
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I. Introductory Points, 415. — II. Odic Light, 416. — III. Nature of Odic Light and Color, 418. — IV. Warm and Cold Substances, 423. — V. In-
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fluence of Solar and Lunar Rays, 424. — VI. Magnetism and Odic Force, 426. — VII. Opaque Bodies become Transparent, 427. — VIII. IsOd3'lan Imaginary Power? 427. — IX. Proof that Odic Light comprises Fluidic Forces, 431. — X. Does Odic Light produce the Aurora Borealis ? 431. — XI. Terrestrial Dynamics, 432. — XII. Terrestrial DynamJcs in Human Life, 436. — XIII. Miscellaneous Points, 443. — XIV. Summation of Points in Chromo Dynamics, 444.
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CHAPTER TENTH.— CHROMO MENTALISM.
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I. Mentality, 446. — II. Beauty of the Fine Forces, 446. — III. This Finer Vision exalts one's Conceptions, 448. — IV. Many Persons can see these Higher Colors, 449.— They reveal the Primary Laws of Force, 450. — VI. This Light renders Opaque Substances Transparent, 452. — VII. Ex-
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planation ofthis Higher Vision, 459. — VIII. How to Develop this Finer Vision, 463.. — IX. The Psychic Force a great Power to Bless Mankind, 464. — X. Statuvolence, or Self-Psychology, 465. — XL The Colors and Forces of the Brain, 471.— XII. The Right and Left Brain, 483.— XIII. Radiations and Laws of Power, 485.— XIV. Intuition and the Relation of the Sexes, 489. — XV. Positive and Negative Poles, 403. — XVI. Interior Machinery of Life, 494.— XVII. Processes of Mental Action, 502.— XVIII. The Organ of this Higher Vision, 509.— XIX. The Medical World, 519.— XX. Miscel-
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laneous Points, 523. — XXL Summation of Points, 527.
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CHAPTER ELEVENTH.— VISION.
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1. General Machinery of the Eye, 534. — II. The Retina considered in Detail, 538.— III. The Sensation of Light, 542.— IV. The Perception of Colors, 543. — V. Diseases of the Eye, 549,— VI. Conclusion, 552.
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LIST OF PLATES AND ENGRAVINGS.
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1. V'ariCouOsLSOhRadEesD andPLHuAesTEoSf.Gray, and n. wCSCIhpoh,einrcCctothhmrrgreaaaon^fts.moitaHrc;oytmfdirocC2agteo,hnCle,HhoAaerNnSrmsiuaimtnlcor,paoonllggyaSeicincAneafoudlfefsit,cn.oiGHtpSryapoaorddwsiamiiutottmihne,oynt;thOhexaomyns-3de,;
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iG.
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Page.
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00II46,—— 111012502... OCTreoilewenebtrraaslt,edAMroDnocumhmeeisnttsaen,cd tT&uocwreers. 444768
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23 — 126. Different Styles of Windows. . 49
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2278.. AGDreacNdoeamvtipi'oopsnoirttoifoCnEloeomfetntLts iaangdghFeotrces. . 555079
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Gradation of Normal Gray 65
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4, in
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Adoc.hrmoonmy ainthiocuseCsolo;r6s
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A;na5l,oCgoinctarlastHiangrmoHanry-
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SOuptelcitnreumof AannAaltyozmed
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9677
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Piece of Atomic Spiral 99
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in, MOadigcnettCr.oialloFrosrces,ilalnusdtraOtdinigc hoFrliazomnetsal fTreorrmes-a IV. Psychic Color- Radiations.
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EFxotrrma oSfpiarnalsAtanodm Inwtirtah Sdpeitarilas.ls. . . 110020
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36. PAotloarmsijzeodiAnteomds
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110153
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F ' Pi HOTg O-EN. GRAVINGS. Page.
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6I—— 51.4.TrLieaanvgelse,, SShnelolws-,CrFysltaolsw, eertsc 43
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222221124935....—— CTMT21rhah08yege..snteaVTSNtliroielbelicrreanvareot,CFiueFnosnfgrtomearSsrPmslsamytaoenifsdnisUobGflltronacSskyesiaeos.tfmn.iycde.... .. 665877
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30 — 33. Star Clusters
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9
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ATtraonmssverasreranlgiendes CofonAvteorsmesly
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243. PHTaorrraansvseevresSresheoeLaDyMeirsaaoggf oAnnteaotlmss
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4308.. 4444542160...,.
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AAMDA33tai97gao--CGnmmhaeaieltgcmviniacecntFaiillccinoesBMLroaofitlfcnteoeecerruscsylee. C14o9m.etTheorfmal1an6d 8 Elect0rical Atoms
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111175 111113793 111114433420336 117417
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34330478..,—39AS3.kn6e,tTEchDhteicvhfeiArrnssogitmtryfoGnruaoosnmmtdearvR,Uenui(tDGbyaleoislehnroo)ws,en.etc..
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11112344
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41, 42. Tomb of Plautus Lucanus, etc... 15
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444638,.—4C47u5.r.vSepGsirraeodfaottfihoetnhePoNfa.sriYz.eaCibanthtoerdlrealae, setc. 111787
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666666364785...... TLTGNCirhihoageanedhtgartatSanrBisuiaeotbnan—gluiti—itmnihfneeutSlhSkekiSyynuisbnLulSSbiLalmcciaenmeeendidnnnsinsWeceacCtarrleaorpyyup.dees..... 222222345345
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455S712-... HEtahlelreeya'ls ACtmoosphm ereeoftSpace 117726
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53. 54.
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1S45u65.n.,
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Earth Solar
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and Atomic Lines Eclipses
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179 185
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666555102687...... STCEFTuhochlnlmeea'ipmspaesMFreuiaCslltoolkifryavoMnCenodsaWoensndPilhzia eena;ssEe1caos5y lf9in.Spousafne. TlhtehoayefndzC1Mr8eoPe6o8lsd.nacen.ne. tt...s.. 212212000808122659
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63. 164. Voltaic Arcs
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209
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6665.. STpheectSrupm eacndtPrrosicsompe 221168
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223332644506486
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6777791234..... QEACAouumndepNtueeirbnragooshntrto.sf SoDccfeealnuChGesioe..enrdtmr;aanbGs7yy0tr..RaDeSfdteloCefancoiyttnictoiPirn.oaoeisnn.nt.tt....... 2222287578
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777857... P1Co7rl6ya.srtaiClzraytsoiftoanIlcseilalnodflSuTsopturramaartleinde 444000566 8709.. ITmhaeginPaorlyariSzterructaunrde AofnaSelleymztee.r. . . 440078
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7787.. MPaorotnliofghAtu oSnabtlhee CHhuadssmon 3311 887019... MCPaootrntttsikoinlSlt.ofMMoYuanlietaciCnolhleHgaeoLeuibrslarey. ... 333122 8824.. 8R3o.maGnreesciqaune anAdrchReosmanat LWiuncdocwas . . 3323 8875.,86E.lizGaobtehtihcanforAmsrc— hHioltyreoocdtuAbrbeey. . 3334 8889.. LHaavpipniya, CDahughitelr dof hTiotoidan 3377 9904.— H9a3r.moDniisocuosrdaanntd HCounmcaonrdanFtacLeeasves. 3397
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888345... SOUodnlidacurlaCCotylicoolrnosnsef,r(o1mG85u7r,ievlo(llSvieengcmciMhanig)n)et. 444117229 888768... TDRhaiedaigarPtaismoyncshoof—aMAGangganeelntigocflCIinunoronvceensce 444888180 9829.— I1n9t1e.rioErlecRtardiicaatlionTsensoifonthesBhroaiwn,n . . . 449858 9999934657..... IVGTTreehhoroeent.icFE BaiCrlloaiimnSnbgeesy c.ltaoiinod.nMoe ao. gfnpett.hieezeBdn.rDiasic.n . . . 444559990374466
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9956.. ALuerafor—a MBoraol rPeerafelcitison 10927.— AloiG.reeFkorPms oofrRotofsiacnd oCottage. 103, Eton Hall, England. (Gothic)
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3493 4454 43
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20908.. 1T9h9e. OIrpitsi,cCiNliarey rProvcessees,setc 553376 222000132... PTOihbtejeocfCtrsRyseittnaivlnearLte(dFioovnega RhCeetnttrialnisa). . . 555445031
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CHAPTER FIRST.
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
I. Light.
|
||
|
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Light reveals the glories of the external world and yet is the most glorious of them all. It gives beauty, reveals beauty and is itself most beautiful. It is the analyzer, the truth-teller and the exposer of shams, for it shows things as they are. Its infinite streams measure off the universe and flow into our tele-
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scopes from stars which are quintillions of miles distant. On the other hand, it descends to objects inconceivably small, and reveals through the microscope objects fifty milUons of times less than can be seen by the naked eye.* Like all other fine forces, its movement is wonderfully soft, and yet penetrating and powerful. Without its vivifying influence vegetable, animal and human life must immediately perish from the earth, and general ruin take place. We shall do well, then, to consider this poten-
|
||
|
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tial and beautiful principle of light and its component colors, for the more deeply we penetrate into its inner laws, the more will it present itself as a marvelous store-house of power to vitalize, heal, refine and delight mankind.
|
||
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II. Nature our Guide.
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I. But light is one of the fine forces of nature, and we cannot understand it until we learn the laws of the fine forces generally. Nor can we understand the fine forces themselves, until we be-
|
||
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come acquainted with the coarser elements upon which, or in connection with which, they act. And we cannot apprehend this interrelation of the finer with the coarser, without a knowledge of the fundamental principles of force, and the great central harmonic laws of nature and mind in unison with which all things time*s.A London Optician has constructed a lens which will magnify fifty million
|
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2
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HARMONIC LAWS OF THE UNIVERSE.
|
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must work. There has been too much mere superficial presentation of these matters. Unless we can go beyond mere exter-
|
||
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nal phenomena to basic principles, we must still build upon conjecture and work more or less in the dark. It is proper, then,
|
||
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that we should inquire into the general constitution of the universe, and get a clear conception of universal law before we can go with entire correctness into the details of any subject whatever, just as it is important to consider details, more or less, before we can comprehend the whole.
|
||
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2. Why should we thus go to nature as the standard of ultimate appeal ? First, because we are a part of nature and amenable to its laws ; 2dly, because nature bears the stamp of divinity
|
||
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upon it, and therefore its laws are perfect. Is it consistent for the theologian to disparage nature so long as he admits that its
|
||
|
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source is that of absolute perfection.* Can imperfection ever come from perfection ? Do not effects ever resemble their
|
||
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cause ? To gain a knowledge, then, of nature's laws is to acquire the perception of divine harmony, by the aid of which all science, art, social life, government and religion may be measured. Without this knowledge we may use many brilliant words, and indulge in the most plausible speculations, but this is merely to
|
||
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build upon the clouds instead of the eternal rock-work of truth. 3. Many writers of the present day are presenting noble
|
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glimpses of the real teachings of nature, among whom is Ruskin,
|
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|
|
who has opened many blind eyes. Chevreul, of France, discovered to the world the laws of contrast in colors, and many
|
||
|
|
artists and scientific writers have been revealing rich lessons from the infinite treasure-house. It has occurred to me, hovv-
|
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* The late Prof. Taylor Lewis, one of the promuient theological writers of the odraayc,lespmeaaykinbgut omfocnkatuurse asinCrtoheesuJsV.waVs. Imnodcekpeedndebnyt thoef aDmebc.igu3o0u,s187a4n,swesraysof:—Apo"lOluor. Our deepest understanding of nature may bring us a new peril, requiring a new study. * * * It would almost seem as though there were some truth in the old legend that nature had been cursed for man's sake." Thus illogical ly talks this scholarly gentleman about the peril of studying the. workmanship of him who, as he admits, is the Divine Perfection. The only danger lies in ignorance of these laws, and to see danger in them is to look superficially at the matter. Throughout all nature is such amazing system, such law, such unity in the infinite diversity, such simplicity in the midst of complexity, that it is not difficult to understand its funda-
|
||
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|
pied wmietnhtaollpdrinctihpleeos,riiefs.we can only bring to the task minds which are not preoccu-
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UNITY.
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3
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e\^er, that some more aefinite crystallization of principles may
|
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be arrived at, and with the reader's permission I shall now pause for a little time in making the attempt to arrive at these funda-
|
||
|
|
mental harmonies of things, so that we may go with open eyes into these marvelous fields of the fine forces, and also be the better able to regulate our art as well as our science.
|
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III. Unity.
|
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The Law of Unity is universal through all matter and mind, and is the expression of wholeness, oneness, centralization and organization.
|
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I. Unity exists in absolutely all unimpeded natural growth,
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and as we have seen that nature's development is on the law of perfection, we may be sure that unity is a universal harmonic law. The different methods by which nature expresses unity are almost infinite in number. Being a law of vast importance, a few examples will be given.
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TFrig.iIan.gle.Fig. S2now.CryFigs. 3ta.ls.Fig. 4M.icrozoa. Fig. 5.
|
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Fig. I is a triangle, a form common in many crystals, and ^vhen equilateral, has three points at the angles and three at the sides, which have a common center of unity. Fig. 2, the hexa-
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||
|
|
gon, so common in crystallization, has twice as many points of unity ; fig. 3 has many more points than fig. 2, each projecting line being a point of unity for other lines, while the figures of the animalcules, 4 and 5, which are but examples of countless millions of amazingly minute skeletons of animals out of which whole mountains are sometimes built, have an unlimited num-
|
||
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ber of points of unity, the circle itself being a figure which is defined as being composed of an infinite number of straight lines, which are equidistant from the same center. Fig. 6 has a general center of unity for a variety of fibres which
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4
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|
HARMONIC LAWS OF THE UNIVERSE.
|
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Fig.Le6a.veFsi,g.
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Fig, Echinus Shell.
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FFilgo.wer1s0..
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branch out from each side. Fig, / has several centers of unity which meet at a general center. Fig. 8, a shell of Echinus^
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|
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forms a little dome-shaped animal with a great variety of lines of forms which have their center of unity at the apex. Fig. 9
|
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|
|
presents a few of the radiating lines of the asterias, which has a
|
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|
||
|
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flower-like center. Fig. 10 shows how the leaves and other parts of flowers affectionately meet at a center of unity. When the cactus blossoms it is said to have an array of five hundred stamens which encircle the pistil as its center of unity.
|
||
|
|
2. Leaves and other natural forms not only have centers of
|
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unity in themselves, but their very contour is apt to give a portion of some other beautiful outline with centers outside of
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themselves, as seen in fig. 11. While the fibre i, 3, forms the
|
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^:\\r/\ general center for the other parts of the leaf, its graceful outline i, 2, 3, or i, 10, 3,
|
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|
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describes the line of beauty which consists of a part of two ellipses, or rather of two ovals, which latter have two unequal centers
|
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of unity instead of two equal centers like
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the ellipse. I have dotted out the ovals,
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of the leFia-f.
|
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arcs of which are included in a single side 12, consisting of leaves of the castor-oil plant,
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presents one general center, seven sub-centers, and a large num-
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Fig. 12. Ricinus Communis.
|
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Fig. 13. Scollop Shell. Fig. 14. Spiral Sea-Shell.
|
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ber of still smaller centers of unity and many outlines. Fig. 13
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|
UNITY.
|
||
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5
|
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has a general point for a system of both radiating and concentric hnes. Fig. 14 has the line of grace which winds around a
|
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|
||
|
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_general center of unity, and has also the unity of parallel lines,
|
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|
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-etc. Figures 15, 16, 17 and 18, ^ illustrate various styles of unity
|
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|
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in foliage and tree growth, and
|
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|
||
|
|
are taken from Ruskin's " Ele-
|
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|
|
ments of Drawing." The meth-
|
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|
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|
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Fig. 17.
|
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|
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|
|
ods of unity in the combina-
|
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|
||
|
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tions of leaves, branches and trees are beyond all computation,
|
||
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|
||
|
|
and I simply give a few examples to get the reader to notice a
|
||
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|
||
|
|
great truth which all nature proclaims. ''The number of systems," says Ruskin, " is incalculable, and even to represent any-
|
||
|
|
thing like a representative number of types, I should have to
|
||
|
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|
||
|
|
give several hundreds of figures."
|
||
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|
||
|
|
Fig. 19. Daisies, Grasses, etc.
|
||
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|
||
|
|
Fis. 20. Trees at Mount Vernon.
|
||
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|
||
|
|
3. Notice how many varieties of unity are presented in a simple cluster of leaves, grasses and flowers, as in fig. 19. Not only have these objects many styles of unity when taken singly, hut in spite of all their seeming lawlessness they have a general harmonic unity of direction, growing, like trees as a general law.
|
||
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|
||
|
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6
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
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|
||
|
|
in a vertical other.
|
||
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|
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|
|
direction,
|
||
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and
|
||
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|
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|
|
hence
|
||
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more
|
||
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or less parallel to
|
||
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|
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each
|
||
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|
||
|
|
4. I will now present a whole world of unities within unities
|
||
|
|
in a beautiful tree cluster which grows by the tomb of Washington at Mount Vernon. (Fig.
|
||
|
|
20.) Here the trunks of the trees may be seen as the centers of unity for the branches, the branches as centers for still smaller branches, and these for
|
||
|
|
kingdoms of foliage growing less and less in size until we
|
||
|
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|
||
|
|
reach a single leaf, which after all is a miniature realm of it-
|
||
|
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|
||
|
|
self, having organizations within organizations.
|
||
|
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|
||
|
|
5. The Jitnnan systan contains thousands of centers of
|
||
|
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|
||
|
|
unity, among the most important of which are the brain and
|
||
|
|
spinal column as the general center of the nervous svstem
|
||
|
|
(fig. 21), and the heart as the general center of the vascular
|
||
|
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|
||
|
|
Fig. 21. The Nervous System.
|
||
|
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|
||
|
|
system.
|
||
|
|
|
||
|
|
6. Crystallizations have their innumerable centers of unity.
|
||
|
|
|
||
|
|
i:i i i ;i».N« I ■■■■II iiiiiiiiiilfli i.wiiBii«aiiraii!fiJliiiiMii illllli Fig. 22. Dissection by sunlight of a block of ice and its crystalline structure shown.
|
||
|
|
Fig. 22 shows some of the elegant crystaUine forms of a block of ice as dissected by the solar rays in an experiment made by
|
||
|
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|
||
|
|
UNITY.
|
||
|
|
|
||
|
|
7
|
||
|
|
|
||
|
|
Mr. Tyndall. Snow abounds in the most elegant crystals, generally hexagonal, or at least arranged in six projections, which
|
||
|
|
|
||
|
|
are just 60 degrees apart, as is, the case with ice. But crystalline forms are too numerous to even hint at.
|
||
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|
||
|
|
7. Forces of all kinds in nature, when unrestricted, move
|
||
|
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|
||
|
|
according to absolute laws of unity. Gravitation makes it impossible for any object to exist without a tendency toward some
|
||
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|
||
|
|
more powerful object, all objects on a planet, for instance, tending loward its center, and all planets tending toward their parent suns, their tendency, however, being balanced by their
|
||
|
|
centrifugal or projectile motion. In fact the unities of form already given result from some principle of unity in force, as will
|
||
|
|
be seen hereafter. Fig. 23 shows some of the billions of lines of force which encircle a magnet as
|
||
|
|
|
||
|
|
their center, shown by iron filings on
|
||
|
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|
||
|
|
card-board above a magnet, as well as some of the straight lines which pass
|
||
|
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|
||
|
|
through the bar itself as a polarizing
|
||
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|
||
|
|
center. Figs. 24, 25, 26, 27, 28, show nodal lines of vibrating circular or
|
||
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|
||
|
|
apnodlygSoanvaalrt.plateTsheascecorpldaitnegs
|
||
|
|
|
||
|
|
to Chladni ^^Sare sprinkled with
|
||
|
|
|
||
|
|
Magnetic Centers of Unity. dry sand, and may
|
||
|
|
|
||
|
|
TFrigi. a2n4gl.e. FCigi. r2c5le.. OFicg.ta2g6o.n. FCigi.r2cl7e.. HFeixga.go2n8..
|
||
|
|
be vibrated by a violin bow under different circumstances, under all of which they develop some principle of unity as sig-
|
||
|
|
nified bythe forms of the sand, and show how wonderfully na-
|
||
|
|
ture's freest operations are developed according to law. 8. All vibrations, all tniditlations, all motions of falling or projected bodies, move according to some mathematical law of unity, such as the curve of the parabola, the circle, the oval, or generally some other section of a cone. 9. Verse and mtisical composition have a unity in the length: of steps, called rhythm ; melody demands some ruling tone,:
|
||
|
|
|
||
|
|
8
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE
|
||
|
|
|
||
|
|
called the key note, around which the other notes cluster as
|
||
|
|
jtheir element of unity ; logic lays down its central idea or proposition, and either reasons from external points toward this
|
||
|
|
center (a posteriori), or from this center toward external points (a priori), and all true art must crystallize its esthetic jewels upon some thread of unity.
|
||
|
|
10. All light emanates in untold millions of rays from some center of unity, such as the sun, a gas burner, etc.
|
||
|
|
11. All colors combine in a wonderful unity to form white light,.. and even when separated by a prism or by a rainbow, they blend so perfectly as seemingly to constitute a single band of hues.
|
||
|
|
12. Gravitatio7i binds the whole physical universe into oneness of law and oneness of existence, and is everlastingly bringing all objects toward some central point by its infinite chains
|
||
|
|
of power. Cohesio7t, dealing with atoms, binds solids into a firm unity of mass, and rolls up fluids into little spheres, each of which has its center of infinite points. Gravitation, however, binds all atoms and all masses of atoms into one family, first chiseling out all worlds into beautiful globular shapes and then tying them together. By its means the sun becomes a center of
|
||
|
|
unity for 137 planets, moons and asteroids,* as well as for comets, which are so numer-
|
||
|
|
ous as to be estimated by
|
||
|
|
millions. The following remark by Guillemin will show
|
||
|
|
that the sun, mere point as
|
||
|
|
it is compared with the universe, has after all a vast
|
||
|
|
reach into space : " Whereas
|
||
|
|
the bitrisaedqiuuasl otfo N3e0pttuinmee'ss tohremean distance from the sun Fig. 29. The Solar Family. |-q ^fic earth, the aphclion of the comet of 1844, whose period is 100,000 years, is lost in extra
|
||
|
|
planetary space at a distance 4000 times as great." * This includes the two moons of Mars lately discovered ; but new asteroids are
|
||
|
|
being looked up yearly, and the above estimate will prove too small.
|
||
|
|
|
||
|
|
UNITY.
|
||
|
|
|
||
|
|
9
|
||
|
|
|
||
|
|
13. The star Alcyone, in the Pleiades, is supposed by many astronomers to be the mightier sun which forms the center of
|
||
|
|
unity for our own sun and a great number of other solar systems. 14. To show that the universe follows this law of unity in
|
||
|
|
the large as well as small, I will give a few star clusters, sometimes called nebulae, as seen by Sir John Herschel. I would
|
||
|
|
first remark that our own solar system is situated in the vast cluster called the Milky Way, which William tlerschel, aided by bis telescope, estimates as composed of 18,000,000 stars. If Alcyone is the center around which move our own and many other solar systems, it is reasonable to suppose that the Milky
|
||
|
|
Fig. 31-
|
||
|
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|
||
|
|
Fig. 30.
|
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|
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|
|
Fig. 33. Fig. 32.
|
||
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|
||
|
|
Way itself has some vast center around which Alcyone and all the other stars of this immense cluster make their almost infi-
|
||
|
|
nite circuit. Otherwise how could they be held in a mass separate from the rest of the universe ? But all stars seem to be
|
||
|
|
situated in some cluster, and held there by a law of unity with the other stars. These clusters are counted by thousands. In the Constellation Virgo is what seems to the naked eye to be a small star called m (omega) Centauri, but when viewed through a large telescope proves to be a magnificent globular cluster of thousands of stars, represented by fig. 30. These globular clus-
|
||
|
|
ters are very common. Fig. 31 simply gives the central portion of a spiral nebula in the lower jaw of Leo, the whole of which is supposed to contain millions of stars. There must have been
|
||
|
|
|
||
|
|
lO
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
a center of amazing power around which inconceivably vast whirlwinds of force swept this array of stellar systems. Fig. 32 is an oval nebula in the constellation Vulpecula, the brightest
|
||
|
|
part of which resem„bles a dumb-bell. Fig. 33 is a nebula in Gemini near the bright star Castor, with rings and a star in the center.
|
||
|
|
15. But have we reached the ultimate of the law of unity in these thousands of star clusters/each of which is almost a uni-
|
||
|
|
verse in itself in its immensity ? Is there no omnipotent, ubiquitous bond of unity which binds even these clusters of
|
||
|
|
solar systems into one almighty center which " we call God and know no more.'* (Derzhavin.) If not, then all analogies fail and all attempt to arrive at universal law is a mockery, for we see that the principle of unity is absolutely universal, whether we progress toward telescopic or microscopic infinities.
|
||
|
|
16. But the unity of the material universe is not all. The common supposition that spirit is wholly unlike matter, in other words is immatcirial^ is quite superficial ; for if there were no bonds of unity between the two, spirit could never act upon
|
||
|
|
matter nor matter upon spirit. The teaching of such absurdities drives logical minds to the denial of all spirit, and the advocacy of materialism and atheism. It should be understood that
|
||
|
|
the very same laws rule in the spiritual and intellectual phases of being as in the material; in other words, iLuity of principle rides ill every department of the tmivcrse and binds the whole in
|
||
|
|
one. Mankind intuitively understand this, and constantly ex-
|
||
|
|
press itin their language, using such expressions as " Jieat of
|
||
|
|
passion " and heat of fire ) " the light of knowledge^' as well as the light of the sun ; " Jiarniony of colors and sounds^' as well as harmony of feeling. A person is spoken of as having a
|
||
|
|
''cool., reasoning style'' of mind, while another is said to have a " warm and loving hear..'' The eyes are talked of as ''flashing fire," as, for instance, a New York paper speaks of Verdi, the composer of Trovatore, as having " fiery, flashing eyes." Words are said to burn, the heart to "boil with indignation',' and so on. In the chapter on Chromo-Mentalism, it will be shown that mind and body work after precisely the same laws ; that the eye can flash real fire, only it is of a higher grade than ordinary fire ; that the process of reasoning is attended with blue emanations
|
||
|
|
|
||
|
|
DIVERSITY.
|
||
|
|
from the front brain, which may be seen by certain persons, and as the blue is the cold principle in colors, we see that it is liter-
|
||
|
|
ally exact to speak of a " cool, reasoning mind ; " that the impulsive and loving procesiies are attended with red emanations,
|
||
|
|
and as red is the principle of heat among colors, we are abso-
|
||
|
|
lutely correct when we speak of the " warmth of love" or the " heat of passion," and are not using figurative words ; that when we saryect, asthheeat "ohfeatrhte sbopiilrsituwailthfoirncdesigncaatuisoens," a wheot acroendiltiiteornalloyf ctohr-e heart which sends the blood into a boiling motion, and that there is a chemical afiQnity ruling in the psychological and etherial forces just as absolute as that which works in physiological and ordinary material conditions, will be abundantly shown here-
|
||
|
|
after. Unity, then, being thus ubiquitous in all realms of matter and force, we may be guided by the following rule :— All things in their basic principles resemble all other things, and we are safe in judging of the unknown by the known-, of the invisible by the visible, and of the whole by a part. Great and important as is this law, and giving us as it does a key to the mysteries of things, we come now to another law which is equally important and without which all harmonious unity itself is impossible.
|
||
|
|
IV. Diversity.
|
||
|
|
Diversity is a universal law of nature, and exemplifies freedom, life, individicality, infinity, etc.
|
||
|
|
In other words, nature consists of infinite unity differentiated into infinite diversity. The reader will now please review all the engravings which illustrate unity, and see how absolutely they also illustrate diversity, otherwise they would have been a perverted style of unity quite contrary to all free natural devel-
|
||
|
|
opment. In the triangle, fig. i, we see lines moving in three directions ; in fig. 2, lines moving in six directions ; in fig. 3, the diversity is far greater ; in fig. 4, we have the circle which, geometrically speaking, consists of an infinite number of straight lines, and we have also diversity in the size of the dots ; in fig. 5, we have a variety of circles and arcs of circles ; in figs. 2 and
|
||
|
|
"5, we have also a diversity caused by light and shade ; in the
|
||
|
|
|
||
|
|
12
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
illustrations following, diversities of form, of size, of direction, and of color. In all foliage the outline and color of the leaf and the size and direction of the fibres and texture are a constant
|
||
|
|
source of diversity. Trees afford a remarkable diversity of direction, size and color of their branches and sub-branches, and
|
||
|
|
leaves, bark, flowers, fruit, etc., as well as in the light and shade of their different parts. In short, the earth and man — the land, and sea, and sky — are rich and delightful in their infinitude of forms, and sounds, and colors, and motions, while the world of literature and spiritual power is richer than even the outward world.
|
||
|
|
V. Harmony.
|
||
|
|
|
||
|
|
Harmofiy consists in the equal balance of Unity and Diversity^ and this Jiarinony is increased in exqnisiteness in proportiofi to the number of these parts of Unity a7id Diversity
|
||
|
|
1. In other words, organization and individual freedom must be combined. In fig. i, we have three points of general unity, and three lines moving in diverse directions, to constitute the tri-
|
||
|
|
angle. Infig. 2, we have twice as many points of unity balanced by twice as many points of diversity, consequently the hexagon is more beautiful than the triangle. On the same principle fig. 3 is more beautiful than fig, 2, and figures 4 and 5 than fig. 3, although fig. 3 is more spirited than these last mentioned.
|
||
|
|
2. Colors must combine this variety of tints, hues and shades on the law of unity to please. If we should see a daub of vari-
|
||
|
|
ous colors on an object without any unity of law in their arrangement, taste would be offended, for it would be diversity
|
||
|
|
|
||
|
|
Fig. 34. DUinvietrys.ity without
|
||
|
|
|
||
|
|
Fig. 35D.iveUrnsiitty. without
|
||
|
|
|
||
|
|
Fig. 36. Usintiytcyombianendd. Diver-
|
||
|
|
|
||
|
|
HARMONY.
|
||
|
|
|
||
|
|
run wild. If we should see only one color everywhere and always, itwould be insupportable from its unvaried unity (see fig.
|
||
|
|
35) ; or if we should see light and shade mingled in a lawless manner on the plan of mere diversity, as in fig. 34, it would be
|
||
|
|
equally distressing. The one would be well represented in a treeless, barren desert, or by a condition of absolute darkness, the other by a mass of ruins, or debris, while both would be a violation of the regular development of nature. It is a relief to
|
||
|
|
turn from these to fig. 36, where freedom and law combined delight every eye.
|
||
|
|
3. Chiaroscuro, or the fine balance of light and shade, constitutes amost effective feature in art. Joshua Reynolds made a
|
||
|
|
rule that one-third of a picture should be in shadow and twothirds in light, but this would interfere with our rule, which re-
|
||
|
|
quires, on the average, an equal distribution of opposite principles, such as light and shade. If light or shade predominates too much, the diversity is not sufficient to balance the unity, and the objects portrayed are less distinct and spirited tlian they should be. Take, for instance,
|
||
|
|
fig. 37, in which an etching
|
||
|
|
from Rubens is given, and although the features and expression are brought out by a
|
||
|
|
master hand, yet the effect as a whole is much less brilliant
|
||
|
|
|
||
|
|
than the head of the " Astron-
|
||
|
|
|
||
|
|
omer," fig. 38, presumably Galileo, which I copy from tha London Art Journal, or rather which the potent beams of the sun have copied for me as
|
||
|
|
|
||
|
|
they have also engraved the
|
||
|
|
|
||
|
|
Rubens. In this way I get a
|
||
|
|
|
||
|
|
fac-simile of both. It will be
|
||
|
|
|
||
|
|
^^'^'""^
|
||
|
|
|
||
|
|
seen that the light and shadow are very finely distributed in the
|
||
|
|
|
||
|
|
"Astronomer," the greatest light being on the face where nature has placed it- and the shadow being on the hair and beard where nature has also placed it, while the dark back ground brings out the light of the whole head by contrast. Diversity
|
||
|
|
|
||
|
|
14
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
The
|
||
|
|
|
||
|
|
is thus developed ; but what is the principle of unity? sameness of general tone throughout the picture, or
|
||
|
|
|
||
|
|
so
|
||
|
|
|
||
|
|
far
|
||
|
|
|
||
|
|
as there is diversity of light and shade, such a gradation
|
||
|
|
|
||
|
|
from one to the other as not to interfere with the oneness
|
||
|
|
|
||
|
|
of effect. Swinging to the other extreme of too little
|
||
|
|
shadow, as in fig. 39, we find the law of diversity lacking
|
||
|
|
|
||
|
|
equally with the Rubens, fig.
|
||
|
|
|
||
|
|
37, and the same indistinctness ofdetail as in that picture.
|
||
|
|
|
||
|
|
Both utility and beauty then require a balance of light and
|
||
|
|
|
||
|
|
shade. Fig. 40 is a fac-simile , of one of the ruder sketches
|
||
|
|
of the brilliant artist Gustave
|
||
|
|
|
||
|
|
Dore, showing the frightened Sancho Panza lying on the
|
||
|
|
|
||
|
|
ground. The blackest shadow is made to fade suddenly into
|
||
|
|
|
||
|
|
absolute light without the gradations which nature adopts,
|
||
|
|
|
||
|
|
and the little patches of
|
||
|
|
|
||
|
|
ground at the lower part of. the
|
||
|
|
|
||
|
|
engraving seem to stand out like islands by themselves, without any relationship to the ground on which he lies. Compare this
|
||
|
|
|
||
|
|
Fig. 39 Deficiency of Shade. Fig_ Unity lacking. to the engraving of the tomb of Plautus Lucanus, fig. 41, which has an effective display of light and shade. Every stone and piece of soil or other object stands out distinctly, and while
|
||
|
|
i
|
||
|
|
|
||
|
|
HARMONY.
|
||
|
|
there is a fine diversity and gradation, there is also a general unity of spirit and tone throughout. In this picture it will be seen that the sun, though shghtly in front of the bridge, must be nearly perpendicular, as the light does not pass under the
|
||
|
|
arches. In fig. 42, however, the sun must be behind the bridge and near the horizon, judging by the distance that its rays are able to
|
||
|
|
Fig. 42. penetrate beneath it over the wa-
|
||
|
|
ter, and by the dark shadows which it casts.
|
||
|
|
4. But we shall hereafter see some great and distinctive methods by which light and shade and other principles are combined to constiFig. 41. Tomb of Piautus Lucanus. tutc real harmony, which is the golden mean made up of the two extremes, rather than the golden mean between extremes. In all things that harmony which is the foundation of beauty, life, health, happiness and power, comes from the union of the two extremes of power, and these extremes generally find their type, if not their exact character, in unity and diversity. Some of these combinations are as follow—s: LigJU and shade, which are exactly balanced in nature, the nights and days having the same average length the world over. Positive and negative forces, which must ever be combined equally to make smooth and perfect action. Heat and cold, which are balanced in the temperate zones and over the world taken as a whole, but being blended onesidedly in the torrid and frigid zones they cause more or Isss distress and interference with nature's harmonious processes.
|
||
|
|
|
||
|
|
l6
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
Life and physical harmony are impossible without a balance of these two principles of heat and cold, heat being the principle of diversity and outward expansion, and cold the principle of unity, organization and crystallization, but either one being destructive if alone.
|
||
|
|
Sweetness and acidity, as combined in strawberries, peaches, apples, lemonade, etc., or sweetness and bitterness, as combined in coffee, tea and many other substances, set into motion that harmonious flow of forces through the organs of taste which lead us to call them luscious or delicious. They delight the
|
||
|
|
physical taste. Unity and diversity, as combined equally, especially on the law of Gradation or Contrast, which I shall now
|
||
|
|
proceed to explain, reach a more spiritual part of our nature and delight the esthetic taste, as in the beautiful or sublime. It is plain, then, that when we reach basic principles they apply to every department of the universe, including both matter and mind.
|
||
|
|
|
||
|
|
VI. Gradation or Progression.
|
||
|
|
|
||
|
|
1. There are two great leading and distinctive methods of combining unity and diversity for the production of harmony,
|
||
|
|
^common through universal nature and of course through all correct human art, which should be a mirror of nature, namely,
|
||
|
|
Gradation, whose characteristics are exquisiteness, progression,
|
||
|
|
beauty, femininity, typical of the love principle, and Contrast, whose characteristics are spiritedness, decision, power, picturesqueness, sublimity and masculinity, typical of justice.
|
||
|
|
2. Gradation consists in delicate degrees of progression fro7n
|
||
|
|
one quality or condition to another, and nature's progressions, when unrestricted, are ever toward superiority of some kind. Thus in ^olian tones there are crescendos progressing toward superior power, and diminuendos progressing toward superior sweetness; in all leaves, fibres, branches, trees, flowers, etc.,
|
||
|
|
there are endless progressions toward superior size and power in one direction, and superior fineness and delicacy in the other,
|
||
|
|
see figs. 4, 8, 9, 10, 11, 12, 13, 14, 16, 19, 20, 21, etc. In a sunset sky, the gradation is toward superior brilliancy as we move
|
||
|
|
from east to west, and toward superior softness of color as we move from west to east ; m the rainbow or solar spectrum, we
|
||
|
|
|
||
|
|
GRADATION OR PROGRESSION.
|
||
|
|
have another beautiful example of gradation or blending, of colors, the progression being toward superior fineness, coolness
|
||
|
|
and penetrating power, as we move from the red through orange, yellow, green, blue, indigo and violet, and toward superior warmth and animation as we move in the opposite direction. Examples of this gradation of colors may be seen in all of the colored plates of this work. I will give a few divisions of na-
|
||
|
|
ture's infinity of gradations. 3. Gradation of Size. I have just mentioned a number of gradations of size as in the fibres, branches and leaves of plants, etc. The gradation of human limbs and features is especially beautiful. Trees abound in many styles of gradation. Fig. 43 shows the ordinary round-topped tree, such as the beech, the maple, etc., in which there is a progression in direction of
|
||
|
|
|
||
|
|
FRigo.u4n3d. FOibg.lo4n4g. FiSgp.iry45-. totrpeep. ed- hteradeeed. ttorpepe.ed the outline and progression in size, Fig. 44 is an oblont^-headed tree, like the poplar, which has too little diversity in its progression toward a point at the top, and consequently its appearance is rather
|
||
|
|
stiff. Fig. 45 is a spiry-topped tree, and includes in its class, cedars, firs, larches, etc. It is more at- Fig 46 tractive than the poplar, from its greater diversity of angles and forms, both angular and curved, and presents sharp contrasts of direction as well as its gradations. Fig. 46 is the spire in decorated Gothic of the Ca-
|
||
|
|
thedral, corner of Fifty-first Street and Fifth Avenue, New York. It has a beauti-
|
||
|
|
ful and gradual progression from top to bottom, that makes it far more graceful than
|
||
|
|
|
||
|
|
atbheovespirtehe inrofoigf.
|
||
|
|
|
||
|
|
47, wh'ich at a point widens so abruptly
|
||
|
|
|
||
|
|
a little as to
|
||
|
|
|
||
|
|
Fig. 47.
|
||
|
|
|
||
|
|
i8
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
make a contrast rather than a gradation. Such a spire may be called picturesque, but it is not graceful.
|
||
|
|
|
||
|
|
4. Gradation of Direction, is simply curvature, and curves are
|
||
|
|
|
||
|
|
among the leading features of beauty in forms. I have given in
|
||
|
|
|
||
|
|
figures 48, 49 and 50 three leading curves in natural forms and motions. Fig. 48 shows the beautiful
|
||
|
|
|
||
|
|
curves of the parabola, such as are
|
||
|
|
|
||
|
|
described by fountains, cataracts and all missiles thrown upward outside of a
|
||
|
|
|
||
|
|
perpendicular line. Fig. 49 gives what
|
||
|
|
|
||
|
|
the famous old Endish artist Ho2:arth CurFviegs. o4f8.the FTihge. Li49n.e TFhieg. l5 ine 0 Call. ed the li_ ne of beauty, and move°s i^ n
|
||
|
|
|
||
|
|
Parabola, of Beauty, of Grace,
|
||
|
|
|
||
|
|
directions like the meandering of
|
||
|
|
|
||
|
|
a stream or the form of undulations (see fig. 51). It may be seen
|
||
|
|
|
||
|
|
in the forms of many grasses, leaves, flowers, shells, streams, etc.,
|
||
|
|
|
||
|
|
^^^^^^.^^
|
||
|
|
|
||
|
|
and is given in figures 6, 7,
|
||
|
|
|
||
|
|
[M^"" ^ ^
|
||
|
|
|
||
|
|
^ ^ \\
|
||
|
|
|
||
|
|
3I7I,, 3182,, 3193,, 5115., e1t6c,. 19-Fi2g0,. 251,0
|
||
|
|
|
||
|
|
; i is called the line of grace,
|
||
|
|
|
||
|
|
i j named also by Hogarth, and : , I is a spiral. It is seen in the / / / / climbing of vines as they
|
||
|
|
|
||
|
|
encircle a tree, in many seashells (see fig. 14), in curls
|
||
|
|
|
||
|
|
Fig. 51. Undulations.
|
||
|
|
|
||
|
|
tohfe ^^imro,stctc.beauIttifuils
|
||
|
|
|
||
|
|
perhaps . of all
|
||
|
|
|
||
|
|
simple continuous lines, and, as will be seen hereafter (chapter III.), is the most common form in the universe. It not only has
|
||
|
|
a leading center for the whole form, but is composed, geometrically speaking, of an infinite number of circles as points of both
|
||
|
|
unity and diversity. Undulations not only progress in size but in delicacy of form as they advance. The fern branch, fig. 52, has not only gradation of size as a whole, but of each branch and part of a branch, and has also many gradations of direction. Fig. 53 consists of gradations of gradations, which are
|
||
|
|
|
||
|
|
^^^^ formed by superposing compound sounds on sim-
|
||
|
|
|
||
|
|
"'^'^^ pie sounds and causing their vibrations to be re-
|
||
|
|
|
||
|
|
Fig.
|
||
|
|
|
||
|
|
52.
|
||
|
|
|
||
|
|
A
|
||
|
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|
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|
corded Fern.
|
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in
|
||
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|
lamp^ -black
|
||
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|
byJ a
|
||
|
|
|
||
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|
gt> raphic
|
||
|
|
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||
|
|
instrument
|
||
|
|
|
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|
|
GRADATION OR PROGRESSION.
|
||
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|
||
|
|
5:
|
||
|
|
|
||
|
|
Vibrations of compound sounds.
|
||
|
|
|
||
|
|
Fig. 54. Combination of two parallel vibratory movements.
|
||
|
|
|
||
|
|
devised by Savart. Fig. 54 has gradations of size and direction,
|
||
|
|
and was written in lamp-black by a combination of tuning forks. Fig- 55 is an example of progressive rings of colored light,
|
||
|
|
which were produced by electricity, as seen and drawn by an artist and quoted by Dr.
|
||
|
|
Jerome Kidder of New York, in his pamphlet on Electro-Allotropo-Physiology :— Placing
|
||
|
|
the sponge of an electrical machine to my left eye, and making the current strong, I saw Fig. 55. stars in about four seconds. Rings vibrating came from the ends, growing weaker as they approached the
|
||
|
|
•center, where they died out entirely. This was very beautiful. It commenced with yellow at the first ring, at about the
|
||
|
|
fourth or fifth ring they became red, and disappeared in a faint
|
||
|
|
|
||
|
|
"blue." It will be noticed that these waves of light progress in :size, in thickness, in color, and in direction of outline according
|
||
|
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|
||
|
|
to the line of beauty, and have a general unity as a whole, as
|
||
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||
|
|
well as a special unity of breadth, of parallelism and of a comxnon center, while the features of diversity are equally marked.
|
||
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||
|
|
5. Gradations in the Hnnian Fojin. The human form being the highest development of the external universe should have
|
||
|
|
|
||
|
|
the highest manifestations of harmonic features. It may be remarked, first, that the contour of a mature and graceful counte-
|
||
|
|
nance, as well as of the top head, is on the plan of the oval, while
|
||
|
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|
||
|
|
the^nripe period of infancy and early childhood approaches the circle.^ The Romans advocated the circle
|
||
|
|
|
||
|
|
:as the highest form of beauty, while the more cultured taste of the Greeks preferred
|
||
|
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|
||
|
|
the ellipse, the oval and other sections of a cone. The circle is the stiffest of curves,
|
||
|
|
|
||
|
|
in fact is a curve of limitation, while the
|
||
|
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|
||
|
|
oval may have a great variety of curved e^B
|
||
|
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|
||
|
|
forms all of which have their centers of C^-^:
|
||
|
|
|
||
|
|
unity. Fig. 56 is an ovoid, or egg-shaped
|
||
|
|
|
||
|
|
-form, which has its center of gravity at G,
|
||
|
|
|
||
|
|
Fig. 56. An Ovoid.
|
||
|
|
|
||
|
|
20
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
within, but its general center of form around a line which should extend through the center of the whole ovoid longitudinally. I will now present some faces as illustrations of the principle.
|
||
|
|
|
||
|
|
Fig. 57. Emma.
|
||
|
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|
||
|
|
Fig. 58. Katie.
|
||
|
|
|
||
|
|
Figs. 57 and 58 are a copy from life of two sisters, who at the same age had a good deal of resemblance to each other. Emma is 18 months old and has fine round features. Katie is 6 years old and her features have become much more oval, the curve
|
||
|
|
of the chin being more delicate and yet more marked as
|
||
|
|
|
||
|
|
Fig. 59. The Infant.
|
||
|
|
|
||
|
|
Fig. 60. The French Market Girl.
|
||
|
|
|
||
|
|
GRADATION OR PROGRESSION.
|
||
|
|
|
||
|
|
21
|
||
|
|
|
||
|
|
Fig. 6i. Childhood and Youth. Fig. 62. Maturity: Genevieve.
|
||
|
|
-compared with that of the cheek, while the hair contrasts more distinctly in color and prominence with the face. Fig-
|
||
|
|
ures 59 and 60 present subjects still younger and still older than those of Emma and Katie, the infant which I have copied from the London Art Journal having a face so nearly circular that its chin almost disappears ; while the French market girl, having reached early womanhood, has a fine oval face .and more distinct features of every kind. In fig. 6i, the same principle is well illustrated in the three faces presented, which lengthen out as their age progresses, while womanhood, as represented by Genevieve in fig. 62, presents a still greater variety of gradations as seen in the curves of her form as well as greater contrasts. The line of beauty will be seen on her cheeks, top hair, shoulders and bust, and the lines of grace in her lower hair, although the artist has not given her a very superior expression of countenance.
|
||
|
|
6. Gradations of Light and Shade so beautifully exemplified in sky and hill and valley and lake, and in most of the manifestations of nature, must be imitated as far as possible in art. In most of the foregoing pictures these gradations are easily seen, especially in that of the Astronomer, fig.38, in which the light fades into shadow as we pass from the forehead to the temples, or into still deeper shadow on. passing to the eyes, which are overhung by his prominent and intellectual brow. This latter, in fact, may be called a contrast of light and shade, although it is graded
|
||
|
|
|
||
|
|
22
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
off SO as to be quite refined in comparison with the rude masses
|
||
|
|
of Hght and shadow in fig. 40, which are almost lacking in gradation.
|
||
|
|
7. We have already seen that Gradation of Colors appears irt those that blend as in the rainbow, and that this gradation, al-
|
||
|
|
though so diversified in its hues, has the property of binding a mass of colors into oneness or unity of effect, hence its beauty,
|
||
|
|
8. In the Motions and Forces of Nature, gradation seems to» be a universal law, extending to gravitation, chemical affinity,, etc. All projected or falling bodies, all movements of suns,,
|
||
|
|
planets, moons and comets forever progress either with increasing or retarded velocities and momentum.
|
||
|
|
9. RJietorical and Musical Gradations consist of those cli-
|
||
|
|
maxes or passages of increasing power or sweetness which moveon step by step until they culminate. In music, there are various dynamical, melodic and climacteric gradations such as crescendos^
|
||
|
|
diminuendos, curves of the voice, upward or downward move^ ments of the voice, etc., all of which, when on the law of grada-
|
||
|
|
tion, are beautiful. In rhetoric it is often said that climaxes are
|
||
|
|
beautiful, but that it is impossible to tell the reason. It is very
|
||
|
|
easy to see the reason when we remember that a climax issimply a progression or gradation of ideas in harmony with
|
||
|
|
|
||
|
|
nature's universal law of beauty. Fine rhetoricians are ever apt to arrange the clauses of their sentences in an increasing
|
||
|
|
gradation, and when this is attended with increasing importance
|
||
|
|
of ideas, it becomes doubly effective. I will give only a singlepassage from Burke :
|
||
|
|
There is one thing and one thing only, which defies all mutation : that which existed before the world, and wall survive the fabric of the world itself, I mean JUSTICE, etc.
|
||
|
|
10. Miscellaneous Gradations. I have given my last paragraphs partly to show that a unity of law exists in the world of
|
||
|
|
intellect and language as well as in external nature itself. The
|
||
|
|
same law of gradation could be traced all through refined social
|
||
|
|
life, through government, through religion and through every department of nature, mind, and art.
|
||
|
|
|
||
|
|
CONTRAST. '
|
||
|
|
|
||
|
|
23
|
||
|
|
|
||
|
|
VII. Contrast.
|
||
|
|
|
||
|
|
Harmonic Contrast combines Unity and Diversity in bold degrees or in distinct masses.
|
||
|
|
|
||
|
|
1. Contrast of Direction consists of straight lines and acute angles, just as
|
||
|
|
gradation of direction consists of curvature. These right lines and bold angles
|
||
|
|
are generally attended with power, sublimity, spiritedness, or picturesqueness,
|
||
|
|
as is the case with flashes of lightning
|
||
|
|
|
||
|
|
t(osseseedfigb.il6l3o)w,s,ororgrleoafttyclciafftsa,raocrtss. tInofrigm. 6-4
|
||
|
|
|
||
|
|
" ^ the bold
|
||
|
|
|
||
|
|
angles
|
||
|
|
|
||
|
|
of the cliffs, the dash of billows, the lowering clouds and the
|
||
|
|
|
||
|
|
lightning's track all betoken — great power, are especially sublime, and are manifestations of contrast. The contrast of
|
||
|
|
|
||
|
|
light and shade which the artist
|
||
|
|
|
||
|
|
has represented adds to the
|
||
|
|
|
||
|
|
spiritedness of the scene. 2. We shall see the distinc-
|
||
|
|
|
||
|
|
tion between gradation and
|
||
|
|
|
||
|
|
contrast all the better by means
|
||
|
|
|
||
|
|
of fig. 65, in which the graceful
|
||
|
|
|
||
|
|
predominates everywhere from
|
||
|
|
|
||
|
|
the curvature and other grada-
|
||
|
|
tions that rule, including the bridge with its vases, the wind-
|
||
|
|
|
||
|
|
ing drive and walk, the arched
|
||
|
|
|
||
|
|
pavilion, the flowing foliage, and flowers, the placid water
|
||
|
|
picturing surrounding objects
|
||
|
|
|
||
|
|
64. Beachy Head.
|
||
|
|
|
||
|
|
on its bosom, the easy slope of the land, the swan and the
|
||
|
|
|
||
|
|
spirit of the scene mind.
|
||
|
|
|
||
|
|
generally
|
||
|
|
|
||
|
|
which
|
||
|
|
|
||
|
|
soothes
|
||
|
|
|
||
|
|
and
|
||
|
|
|
||
|
|
deHghts
|
||
|
|
|
||
|
|
the
|
||
|
|
|
||
|
|
24 HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
Fig. 65. Gradation, or the Beautiful in Landscape*
|
||
|
|
|
||
|
|
Figure 66 presents some elements of the beautiful in the curved
|
||
|
|
form and sparkling effect of the waters of
|
||
|
|
Niagara Falls, a part of which appear, but the loftiness, vastness, pow-
|
||
|
|
er, and the terrific contrasts and whirling motions of such mighty
|
||
|
|
currents are especially sublime.
|
||
|
|
|
||
|
|
Fig. 66, The subhme beautiful and startling
|
||
|
|
|
||
|
|
in Water. manifestations,
|
||
|
|
|
||
|
|
3. Light and Shadow
|
||
|
|
|
||
|
|
appear in the
|
||
|
|
|
||
|
|
in sky
|
||
|
|
|
||
|
|
countless especially,
|
||
|
|
|
||
|
|
as well as on water, and over the mountains and valleys. Grada-
|
||
|
|
|
||
|
|
tion of light and color in the sky, represented in fig. 67, is apt to
|
||
|
|
|
||
|
|
be the most deUcate where no clouds are, the light of course be-
|
||
|
|
|
||
|
|
ing most brilliant where the sun is, and having a progression
|
||
|
|
|
||
|
|
* May
|
||
|
|
|
||
|
|
This pretty piece o£ landscape Kidder, daughter of Mrs. M. A.
|
||
|
|
|
||
|
|
was drawn for me by Kidder, the well known
|
||
|
|
|
||
|
|
a young poetess.
|
||
|
|
|
||
|
|
artist,
|
||
|
|
|
||
|
|
Miss
|
||
|
|
|
||
|
|
CONTRAST.
|
||
|
|
Fig. 67. Gradation in Sky Scenery. Fig. 68. Contrast in Sky Scenery. toward shadow as we recede from the sun. In a sunset sky, or a sunrise scene, there are often millions of degrees of tint from the point where the sun is all the way over to the opposite side ■of the sky, when it is not cloudy ; but in case of clouds, magnificent contrasts of light, shade and color are apt to appear with their more exciting effects. The clouds and light of a tempest often manifest brilliant contrasts, something as in fig. 68. Fig. 69 shows a scene in which contrast and diversity are almost entirely lacking, so that the land can scarcely be distinguished from the water, and the whole effect is feeble. In fig. 70 contrasts of various kinds appear and give a brilliant effect. There is a con-
|
||
|
|
Fig. 69. A Night Scene. Fig. 70. Stony Point on the Hudson. trast of size and direction in the rocks and bold scenery as placed side by side with the placid sheet of water ; and there is the con-
|
||
|
|
trast ofthe deep shadow in which these rocks are placed with the brilliant light that flashes over the water, and this light is toned
|
||
|
|
|
||
|
|
26
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
down by a gradation of shading which gives refinement. The contrast of luminous branches on the shadowy rocks should also be noticed.
|
||
|
|
4. The contrast of Masculinity with Femininity is one of na-
|
||
|
|
ture's great strokes of harmony, being an admirable method of employing diversity in the sexes to bind them together in unity
|
||
|
|
of spirit. It is really a contrast of gradation of style as predominating in woman with contrast of style as ruling in man. In fig. 71,
|
||
|
|
I have presented the beautiful queen of Delhi, in contrast with the manly head of the Emperor of Germany in fig, 72. The
|
||
|
|
queen's forehead, eyebrows, cheeks, chin, mouth, neck and shoulders are all graceful with gradation ; her hair progresses from
|
||
|
|
lines of beaiUy above to lines of grace below ; her drapery and
|
||
|
|
jewelry are arranged on the flowing and curved style of gradation, while all very strong contrasts both of color or form are
|
||
|
|
avoided. The Emperor with his firm shoulders and neck, his massive forehead and eyebrows, his bold features approaching angularity, his beard and mustache contrasting in form and color with his face, his angular ornaments with their bright colors placed in contrast with the dark color of his coat, give him an appearance of dignity and power. Nothing is more effective in a social circle than a manly man by the side of a womanly woman, the man setting off by his size and ruder power the delicacy and grace of the woman, while the woman enhances the majesty of the man by her more petite and yielding form. The true woman naturally desires in man masculine force of character, and the true man naturally loves in woman feminine refinement and
|
||
|
|
gentleness. By feminhie I do not mean effeminate, and by gentlenes Ido not mean lacking in firmness of principle. When
|
||
|
|
such natures form a matrimonial union their harmony, both physical and spiritual, will be far greater than two natures which are too much alike, or rather which do not contrast properly. By contrast I do not mean contrariness, or opposition, but distinctly marked diversity in unity ; for natures that are almost totally opposite cannot harmonize any better than those which are almost wholly alike.
|
||
|
|
Fig. 73 presents the face of our eminent ornithologist Audubon, certainly one of the most feminine of masculine faces,
|
||
|
|
from the delicacy of his chin and mouth and the fine curves of
|
||
|
|
|
||
|
|
Fig. 72. The Emperor William of Germany. Illustrating Contrast.
|
||
|
|
|
||
|
|
28
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
his cheeks and eyebrows. His forehead alone seems to have
|
||
|
|
the mascLiUne prominence of outhne. To make this femininity the m.ore extreme in style he wears
|
||
|
|
|
||
|
|
his hair long and laid carefully in curls over his forehead, his collar
|
||
|
|
|
||
|
|
and drapery flowing and his face
|
||
|
|
|
||
|
|
wholly without beard, which is certainly amistaken conception of what
|
||
|
|
|
||
|
|
is appropriate in manhood. This same mistake is made by many
|
||
|
|
|
||
|
|
priests, who shave their faces closely
|
||
|
|
|
||
|
|
Fig. 73. Audubon.
|
||
|
|
|
||
|
|
and wear those flowing gowns which
|
||
|
|
|
||
|
|
simply make tliem resemble women of a large and coarse type.
|
||
|
|
|
||
|
|
The uncomfortable and heat-producing wigs with long and curled
|
||
|
|
|
||
|
|
hair which are still worn by barristers in England, are a very
|
||
|
|
|
||
|
|
immasculine and very absurd ornament. But the subject of dress will be considered hereafter. The contrasts of the mascu-
|
||
|
|
|
||
|
|
line and feminine form are shown in fig. 39.
|
||
|
|
|
||
|
|
5. Contrasts caused by Reflection. Nature is not satisfied with filling all things with her fine effects and harmonies which
|
||
|
|
|
||
|
|
inhere in the objects themselves, but has turned every lake and river and sea into a burnished surface of quicksilver to mirror
|
||
|
|
|
||
|
|
forth in softer light her real objects, thus making shadows contrast with their substances, as seen in fig. 74, also in fig. 65.
|
||
|
|
|
||
|
|
6. Co7itrasts in Typogra-
|
||
|
|
|
||
|
|
4ra phy. I will throw out just a hint as to how different
|
||
|
|
|
||
|
|
styles of lettering and penmanship may be combined
|
||
|
|
to produce an effective contrast, and also gradation.
|
||
|
|
In fig. 70, the upper and lower words have gradation as their ruling feature, while the middle word has those
|
||
|
|
firm straight lines and sharp angles which make contrast, Fig. 74. Contrasts caused by Reflection. and SO taking them all together isa pretty contrast of gradation and contrast. The grad-
|
||
|
|
|
||
|
|
t CONTRAST.
|
||
|
|
|
||
|
|
iial swelling and diminishing of the shaded line in the capitals
|
||
|
|
is a gradation of size, while the light and shaded strokes which come near each other form a contrast of size. The word
|
||
|
|
eminent has different contrasts, both
|
||
|
|
horizontal and perpendicular, but the shaded ground work of the word should be extended to the other two words or
|
||
|
|
|
||
|
|
omitted altogether 'to have perfect unity
|
||
|
|
|
||
|
|
of effect; but I have chosen them from
|
||
|
|
|
||
|
|
^
|
||
|
|
|
||
|
|
their applicability in other respects.
|
||
|
|
|
||
|
|
11. Contrast in Mnsic. Rhytliniical zoviXxdJ&X. consists of sud-
|
||
|
|
|
||
|
|
den changes from short to long or long to short tones ; dynami-
|
||
|
|
|
||
|
|
cal, in sudden bursts of tone after soft and gentle movements,
|
||
|
|
|
||
|
|
the use of rests, etc. ; melodic, in sudden transitions from high
|
||
|
|
|
||
|
|
to low or low to high notes, and in straightforward and angular movements of the voice rather than in fanciful curvatures and
|
||
|
|
|
||
|
|
warblings. 12. Contrast of Ideas and lengtJi of clauses may be seen in
|
||
|
|
the following antitheses of Mirabeau :
|
||
|
|
|
||
|
|
" Be firm not obstinate ; Courageous not turbulent ; Free not undisciplined ;
|
||
|
|
|
||
|
|
Prompt not precipitate." 13. A Gradation of Contrasts in Language may be seen in the following extract from Chateaubriand, in which each of the
|
||
|
|
|
||
|
|
three leading steps of gradation from' less to more important ideas has a contrast of a smaller with a larger object, as " in-
|
||
|
|
|
||
|
|
sect "with " elephant," "Theetrce :—is a God !
|
||
|
|
|
||
|
|
I.
|
||
|
|
|
||
|
|
- (( Tthhee cheedrabrss
|
||
|
|
|
||
|
|
of ot
|
||
|
|
|
||
|
|
the the
|
||
|
|
|
||
|
|
vmaolulenyt," am.,
|
||
|
|
|
||
|
|
)>V ,bl,ess him—
|
||
|
|
|
||
|
|
j The insect sports in his beams, \_The elephant salutes him with the rising orb of day —
|
||
|
|
|
||
|
|
^ C( tThhee tbhiurnddesringpsrochliamimsin htihme fionliatghee, heavens :— Man alone has said — Thei^e is no God ! "
|
||
|
|
|
||
|
|
The unity of idea in the above finds its central point in
|
||
|
|
|
||
|
|
" There is a God," while the diversity consists of the seven clauses which cluster around it, as leaves cluster around a branch.
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
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3014. Crystallized or other hard forms usually have that predominance ofstraight lines and angles which constitutes con-
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trast, and their effect is generally spirited, or if large, sublime, while the more soft or yielding forms of natural growth have usually a predominance of curvature on the graceful law of gra-
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dation. For examples of the first see figures 2, 3, 64, etc. ; for examples of the second, see vines, leaves, human forms, etc., as in figures 11, 12, 19, 20, 60, etc.
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15. What is the principle of unity i7t contrasting objects ? my reader may ask. The principle of diversity is evident enough. Take the picture of Stony Point, fig. 70, which presents marked contrasts. Are the rocks so black as to be entirely separated in
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effect from the white appearing water near it .-^ No, for the water is graded down with shadow so as not to be entirely white, while the rocks are softened down with light to prevent black-
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ness. So far, then, there is unity of effect. But there is also another kind of unity, for the darkness of the rocks works in harmony with the water to develop its brilliancy, while the bril-
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liancy ofthe water, on the other hand, works harmoniously with the rocks to bring out their bold and massive power the more distinctly. But these contrasts by means of which one object works to glorify its neighbor, are seen all through nature. The red of the flower makes the green of the surrounding foliage seem the more pure by comparison, while the green on the other hand sets off the red and gives it a deeper hue. The foliage harmonizes with the reddish brown of the soil ; a violet flower is
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very apt to be associated with yellow lines or a yellow center, and various other harmonic contrasts exist in different depart-
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ments of nature, developed on the principle of chemical affinity, which deals in contrasts as will be shown in chapter V.
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16. Boiv is Contrast the type of ftstice ? A true philosopher
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will always see an interior spiritual meaning in every manifestation of nature. The earthquake, the tempest and the lightning,
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which so abound in sublime contrasts, are great purifying and corrective agencies of the physical world. Is not yustice the
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great purifier of the moral world } But as in nature the mountains and cliffs which have been developed by the earthquake
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are softened down by many yielding and beautiful gradations typical of love, so should human justice be tempered by the gentle hand of mercy.
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HARMONY OF ANALOGY. VIII. Harmony of Analogy.
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Ajialogical harmony requires that there shall be some distinctive
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expression or special character thronghoiit any work of ar t or nature in order to the highest perfection.
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I. This is really a broad application of the principle of unity,
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and yet this very law will impart such an individuality to an ob-
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31
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ject, or series of objects, as to enhance the diversity of things as
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a whole. Nature carries it out
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in a wonderful way. Thus the sky
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may be greatly varied with clouds and sunhght, but its analogical
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principle is the blue color. During a sunset, not only does a
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golden tint rule near the sun, but
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it touches the whole sky and landscape into analogical harmony.
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When the sky becomes overcast with dark clouds, the forest, the
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water, and the whole landscape partakes of the somberness, as in
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fig. 76. The artist has given a
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Fig. 76. Shadow. lPiotitlnet pibeycemooofntlhieghHtud(sfoign. 77a)t, Waensdt th^e'^^dimness of
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the water, of the distant highlands and of the sky itself, shows the analogical principle which is so common in nature. In a romantic
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or picturesque region, contrast isthe presiding genius,
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and we are apt to find bluffs, cliffs, torrents, and
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FigS.abl7e8. CPhaarstm.of A
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jagged or spiry-topped trees all combined. Fig. 78 shows
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a small portion of the Au Sable Chasm, in which the
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spire-like trees surmount
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Fig .C7ol9l.egPeortLiiobnraroyf. Yale
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the cliffs somewhat as pinnacles surmount a
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Gothic edifice, and greatly add to the spiritedness
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|
HARMONIC LAWS OF THE UNIVERSE.
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of 3t2he scene. Fig. 79 shows a portion of the Library buildingof Yale College, which, throwing upward its turrets and pin-
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nacles, as well as its pointed windows and roof, shows how well adapted the Gothic style is to hillsides or other romantx situations, as it would be in harmony with surrounding features. Many architects, recognizing this fact, have placed Gothic churches or other buildings in the same spirited style, on the top of some peak or hillside, and enhanced the effect which
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nature itself produces. Such an effect is seen on Mont St. Michael, fig. 80. The well known Catskill Mountain House, fig. 81, with its tame horizontal lines, violates
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m this respect the spirit of the wild grandeur around it, where the very trees and
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cliffs themselves proclaim a different style.
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2. Analogical Harmony does not necessarily interfere zvith diversity as might
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be supposed at first thought. Figs. 82 and 83 are portions of New York business buildings. Although the square
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topped Grecian windows are the simplest of all styles, the architect has found
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a way (fig. 82) to vary them with their surroundings on different floors without injuring the unity of effect. The sam.c is the case with the Romanesque win-
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dows of fig. 83. Fig. 84, which I have
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Fig. 81. CaHtosuksilel. Mountain
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Fig.Wi8n2d.owGrse.cian Fig. 83. Reman Windows.
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HARMONY OF ANALOGY.
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35
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taken from Ruskin's " Stones of Venice," has an analogical harmony in the great general outline of its beautiful Roman arches,
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although every arch, as will be seen, has an entirely different style of ornamentation from every other arch, and each pillar differently sculptured capitals, while the space above is filled with constantly diversified figures. Mediocrity clamors for a dead sameness of all windows of a building, or of all ornamental features, or of all pillars, and would balance one tower on one side of a building with another absolutely similar to it on the other side, just as mediocrity in the world of fashion aims at a slavish imitation of some style which is supposed to be d la
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mode, however foolish, unbeautiful, destructive of health, or lacking in adaptation it may be. Genius, however, while carrying
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out a general analogical spirit, is so rich in resources of creation
|
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Fig. 84. Romanesque Arches from St. Michele of Lucca.
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or invention as to develop endless diversity in the midst of his unity, in imitation of nature itself. In fig. 85, we have a speci-
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men of Gothic architecture with
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its pointed arches, being the
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doorway of Holyrood Abbey, England, while fig. 86 shows some of the windows in the same structure. It will be seen that
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the windows in each story are highly different in plan and yet entirely harmonious in effect, not only with themselves but
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with the doorway, and even the
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Fig. D8o5o.rwAay.Gothic
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Fig.Wi8n6d.owGso.thic
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34
|
||
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|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
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|
||
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|
doorway itself has various analogical principles in the series of arches and parallel lines with which it is formed, while these
|
||
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|
very arches have a diversity of ornamentation. Fig. 87 gives a fair specimen of the Elizabethan architecture, which is a mongrel of styles, quite in violation of analogical harmonies, having no general effect
|
||
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I ^^ffl" I altchoonturgahst itor hgarsadastoimone ;poifctsutrraeisgqhutenleinsess oorf cuerffveecst,.
|
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|
|
IBllHilili There is the arched doorway and rectangular winp^^BH dow, and roof-piece, with no special style at all, fct^^WMp projecting quite above the rest of the house, and FiJ. 87. Elizabe- Pretending to be a part of the house, just as the than ar:hitecture. pompous Elizabethan Style of dress was full of in-
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||
|
|
flation and vanity, pretending to be more than it was. 3. In landscape, a picturesque or romantic location needs more or less of spirited angles in the buildings which may be placed there, as we have just seen, as well as deep contrasts of light and shade in the form of lawns and thick tufts of foliage, decided angles in some of the trees as well as in the walks, and not too much of the polishing effects of art, while in landscapes where the beautiful predominates, winding paths, lawns finished off with smooth surfaces and curved forms, and architecture in
|
||
|
|
which gradation and gentle angles are prevalent, such as Grecian, Italian, the curved Mansard roof or ornamented Gothic, are
|
||
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|
in place. (See fig. 65.) 4. In Society, while both sexes must abound more or less
|
||
|
|
with both gradation and contrast of style in their features, conversation and general character, yet in the true man we expect
|
||
|
|
power as the leading trait, however much it may be modified by goodness and refinement, while in the true woman we expect the gentle and graceful style, and ability to hold in repose when necessary, any depth of feeling.
|
||
|
|
5. In Mnsic, analogical harmony demands some general keynote or style throughout a part or the whole of a composition.
|
||
|
|
6. In Painting, it demands some general tone of color and leading design throughout the whole piece.
|
||
|
|
7. In Logic, it requires a constant adherence to the point to be proved.
|
||
|
|
8. In Versificatio7i, it causes some general style of rhythm
|
||
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|
|
VIOLENT CONTRASTS.
|
||
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35
|
||
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||
|
|
and metre to be adopted throughout a poem, excepting where the principle of adaptation may require a change.
|
||
|
|
9. In Colors, any hue harmonizes analogically with a dijferent shade of tJie same color, as Chevreul has observed ; for instance,
|
||
|
|
blue will harmonize with light blue, light blue-gray with a darker blue-gray, red with light red, etc. (See Plate IL, fig. 2.) This is analogical contrast. In the case of ordinary contrast, however, light red does not harmonize well with dark green, nor a deep
|
||
|
|
orange with a pale blue, nor light red-gray with dark green-gray, but the depth of tone in each must be equal to have the best ef-
|
||
|
|
fect of analogical harmony. But chromatic harmony will be explained under its proper head.
|
||
|
|
10. Thus in all nature and art and society, whatever diversity in the form of contrast or of gradation there may be, the principles of analogical harmony demand that some leading sym-
|
||
|
|
pathetic thread of unity must bind the whole into one. Liberty and law must be combined. This prepares the way for my next paragraph.
|
||
|
|
IX. Violent Contrasts are Contrary to the General
|
||
|
|
Laws of Nature.
|
||
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|
||
|
|
I. Harmo7tic contrast is not antagonism or absolute opposition, itshould be remembered. The contrasts and hues of na-
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||
|
|
ture are not violent or pretentious in their general manifestations. The blue of the sky is diluted by the light in the day-
|
||
|
|
time or by shadow at night. The green of the foliage is far better than a luminous color, as it does not dazzle the vision. The sunrise and sunset and the rainbow are all the more beauti-
|
||
|
|
ful by being temporary, and the awful contrasts of vast overhanging cliffs, great cataracts, tempests and earthquakes, would
|
||
|
|
be unendurable if prevailing everywhere and always. The rocks, the earth, the clouds, the body of plants and trees are generally composed of delicate rich grays or browns which have a modest grace that gives enduring pleasure. Nature has for thousands of years made building materials, such as stones and woods, of these grays and browns ; but man, too slow to take the hint, insists too often m painting his houses in such glaring, positive colors, as white, red, etc.
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
362. Exquisite taste of course avoids what are called loitd colors, and barbarians have taken charge of most of the flaming red
|
||
|
|
and purple hues for dress, excepting in the case of children,, whose sunny nature renders gay colors apropos.
|
||
|
|
3. In society such rude contrasts as harsh words, violent gestures and screeching tones of passion are relegated to the low and vulgar, although at times great truths and great reforms may be projected upon a careless and ignorant community with a fiery earnestness that may displease for the time being as they tear up old errors, just as the lightning and the earthquake may bring occasional alarm in doing a much needed work of purification.
|
||
|
|
4. The great leading plan of nature is to combine gentleness and power, or in other words. Gradation and Contrast, sunshine being more potent than the storm, while violence occurs only at rare intervals and even then in order that peace and harmony may the better be brought about.
|
||
|
|
X. Nature's Unrestricted Growth never Results in Discord or Ugliness.
|
||
|
|
I. We have seen that nature's progressions when unimpeded are ever toward beauty and perfection of some kind, and yet there are objects of deformity to be seen in the world around
|
||
|
|
us. How is this t These objects do not result from nature's growth, but from the cessation of this growth, as in decay, in-
|
||
|
|
terference, sickness and death. Plants and animals naturally grow into beauty when unimpeded, but become repulsive in de-
|
||
|
|
cay, or in disease or imperfect conditions. Figures 88 and 89 are specimens of faces formed by harmonious natural conditions, either pre-natal or post-natal, or both ; fig. 90 has had the har-
|
||
|
|
monious growth of nature interfered with by means of the poisonous element of alcohol ; fig. 91, by sickness ; fig. 92, by a one-sided development of her beastly nature to the neglect of her higher powers ; fig. 93, by such a diseased condition of his liver, spleen, stomach, and perhaps kidneys and nervous system, such a pressure and inflowing of forces upon the heart, that he almost dies of hypochondria, or perhaps declares at times that he is actually dead.
|
||
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|
||
|
|
nature's unrestricted growth never discordant. 37
|
||
|
|
Fig. 88. Lavinia, Daughter of Titian. Fig. 89. Happy Childhood. 2. All crystallizations when formed by natural and slow processes are beautiful ; but the violence of volcanoes and earthquakes
|
||
|
|
throws up lava and jagged ore in which unity is quite deficient, and consequently deformity reigns, just as lines of ugliness are painted on the human countenance by the continuous indulgence of violent passions. The barren waste of deserts is also unbeautiful from lack of diversity ; but this too comes from impeding nature's processes, as the vapors of the atmosphere which give the rain are obstructed by some intervening mountain ranges.
|
||
|
|
The FiRgu.m9Bl0oa.t. InsaFnieg.I9 nv1 al. id. ThFeig.Be9as2t.. The HyFpiogc.ho9n3d.riac. 3. The Human Form when developed naturally, without com-
|
||
|
|
pressions oftight garments^ without paints and cosmetics or stimuli, with abundance of pure air, sunlight, natural, simple food, exercise, and a genial noble soul within to illuminate the whole, grows naturally into every style of beautiful outline, color, motion and expression. Pale hollow cheeks with spiritless expression and walk, and fitful nervous action, result from a wrong life in
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
one3'8s self, or in one's ancestors, or in some adverse conditions of life, all of which are at war with nature's harmonious unfolding.
|
||
|
|
4. But decay itself is only a process of a higher development, a
|
||
|
|
decomposing and recomposing into superior conditions. Bymeans of change and death the earth has progressed up through the geological epochs to the present refinement of things, develop-
|
||
|
|
ing first moUusks, then fishes, then birds and reptiles, then mammalia, and last and highest, man. Judging then by all analogies,
|
||
|
|
even death must be but transition to superior life, and man himself alink in this wonderful chain of upward progression. Is it
|
||
|
|
not an inspiriting thought then that all gradations of color, form, sound and motion, all harmonies of the outward universe, forever exemplify and teach this great principle of progression }
|
||
|
|
XL All Unrestricted Growth of Nature Exemplifies Spiritual and Moral Perfection.
|
||
|
|
I. /;/ other words, beautifnl growths exemplify beautiful ideas, and all objects are positively deformed which do not do so. Take the sun for example. The orb itself typifies the parent principle. Its infinitude of rays work harmoniously side by side and typify fraternal harmony. They combine together to glorify the parent orb itself and thus exemplify filial love. This parent sphere gives them life and power and thus exemplifies the love of both the divine and human parent for the children. The light (expands toward all the rest of the universe, and thus preaches progression and a sympathy for all. This immense progression at the rate of 186,000 miles a second enhances its luminosity and beauty through attrition on our atmosphere and earth, and thereby shows the glory of action. Thus the sun and stars are ever flashing out upon us their wonderful lessons of individual pro-
|
||
|
|
gression and freedom, and yet fraternal harmony and organization, writing the thoughts of the Infinite over the whole heavens. Suppose that anarchy should rejgn among the sunbeams and they should war upon each other as do the lines in fig. 34, or sink into the stupid blank of death and inactivity as in fig. 35, the whole matter becomes at once disgusting. Thus we see that while moral perfection is expressed we have beauty, but so soon as immorality of idea prevails we have deformity.
|
||
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|
||
|
|
NATURAL GROWTH EXEMPLIFIES MORAL PERFECTION. 39
|
||
|
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|
||
|
|
2. But again, suppose the leaves of the Gum Arabic Twig (Acacia Arabica) should rebel against the fraternal harmony with which nature has endowed them, as seen in fig. 94, and regardless of their neighbors arrange themselves into all conflicting attitudes or sometimes turn themselves into triangles, squares, etc., as in fig.
|
||
|
|
95, and suppose that the parent stem itself, regardless of its foliage and ignoring all graceful progression of outline should stand forth in a rigid straight
|
||
|
|
line equal in size throughout, would it not be a dis-
|
||
|
|
tressing object to look upon } Truly ''righteousness exalteth " a twig as well as a nation. Let us take a leaf, fig. 96, and see what a little bible of divine instruction is written thereon.
|
||
|
|
Its fibres working harmoniously side by side for the beauty of the whole and never
|
||
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|
||
|
|
violating their neighbor's rights, teach fraternal love and justice, both in the family and
|
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|
|
in society.
|
||
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|
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|
|
Fig. 96.
|
||
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|
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|
|
Working in individual freedom, they teach self-reliance and manJiood.
|
||
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|
||
|
|
Working in orderly arrangement they advocate law and organization.
|
||
|
|
Increasing in size and power as they move toward the central fibre, they preach progression. Spreading out gracefully on both sides, one side a little bolder than the other, they advocate conjugal love. Uniting their life and harmony with the parent stem, they teach us to turn affectionately to our parentage both earthly and heavenly, thus proclaiming filial love. The parent stem sending its life forces to the dependent fibres symbolizes parental love, both human and divine. While it draws its life from the earth, it also opens its tissues and drinks in the sunlight from above, thus teaching us to draw wisdom and power from both the earthly and the heavenly. Developing in all directions in symmetrical harmony, they
|
||
|
|
teach us to grow broad in our culture and avoid one-sidedness of development.
|
||
|
|
These are some of the leading instructions and moral bear-
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
ing4s0 of the leaf, including the four great departments of love, which if carried out would convert the terrestrial into the celes-
|
||
|
|
tial harmony. 3. Again we may take the Siui as the parental center of the solar system, around which all its planets, moons, and comets re-
|
||
|
|
volve with ceaseless harmony, ever receiving from and giving to each other, and we find the same divine lessons taught.
|
||
|
|
4. Thus does every sun, and planet, and star, and leaf, and flower, and tree, and rainbow, and crystal, and all other unim-
|
||
|
|
peded formations and growths of the whole universe, everlastingly proclaim these divine harmonies. Shall man ever remain blind and deaf and dumb with reference to them 1
|
||
|
|
5. The same beautiful harmonic relations should be exemplified in every family, every society, every community and every nation, with a balance of organization and individuality, and with every part working lovingly with every other part and yet main-
|
||
|
|
taining individual freedom. 6. The foregoing principle constitutes another proof of the absolute unity of all things, the spiritual and the material being irrevocably blended.
|
||
|
|
XIJ. The Law of Perfection.
|
||
|
|
Those objects present tJie higJiest perfection, other tilings being eqiLal, zvhich embody the greatest ntmiber of Harmonic Principles.
|
||
|
|
I. Niagara Falls. This cataract is the admiration of the world. Why } It presents beautiful gradations of direction in the parabolic curves of water as it sweeps over the rocks ; gra-
|
||
|
|
dation of velocity from top to bottom, and gradation in the curves and hues of the rainbow which gilds the clouds of spray. It presents Contrasts of direction in the mad dash and whirl of waters, contrasts of rocks and water, contrasts of water in the sunlight and water in shadow, contrasts of white foam with the dark blue sheet before it becomes foam, contrasts of size in the great cliffs and water above with the depths below. The whole presents the analogical principle of continuous sublimity — sub-
|
||
|
|
limity in the great rocks, the mighty currents, and a power
|
||
|
|
|
||
|
|
THE LAW OF PERFECTION.
|
||
|
|
|
||
|
|
which utters itself in thunder and shakes the earth. We see,
|
||
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|
||
|
|
then, every style of external harmony combined.
|
||
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|
||
|
|
2. The Himian Head, being the culmination of the highest
|
||
|
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|
||
|
|
features of man, who is himself the culmination of nature, pre.sents the most wonderful combination of harmonic features. It
|
||
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|
||
|
|
has contrasts of size and direction in the upper and lower head,
|
||
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|
||
|
|
in the front and back head, in the hair and face, in the nose and
|
||
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|
||
|
|
cheeks, or forehead and cheeks, or chin and cheeks : it presents
|
||
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||
|
|
41
|
||
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|
||
|
|
contrasts of color in the hair and face, or beard and face, in the
|
||
|
|
|
||
|
|
pupil and white of the eye, etc. : it presents gradations of direction in the exquisite curves everywhere present, as in the chin,
|
||
|
|
lips, cheeks, eyes, eyebrows, nose, forehead, hair and whole head ; and gradations of color in the cheeks progressing from the lily of the side cheeks to the rose in the center ; and more
|
||
|
|
■or less of the same in the lips, eyes and hair : it presents analogical harmony of color in the face, eyes and hair, as when the
|
||
|
|
hair is dark, the eyes and skin are apt to be dark also ; and analogical harmony of form, as when one feature is bold and contrasting, others are apt to be the same. More than this, the
|
||
|
|
head is the center of the most marvelous possibilities of thought
|
||
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and deed, the brain being the head-quarters of those mental, passional and intuitional energies which change the face of the world and develop all harmonies ; the vision being the mirror on which all harmonies of the outward world are painted, the vocal
|
||
|
|
apparatus being the instrument for producing all harmonies of
|
||
|
|
tone and sound, and the ear the instrument for taking cognizance of these harmonies. More than all this, there is a fine
|
||
|
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|
||
|
|
spiritual something that emanates from a peculiarly fine and animated face which causes us to speak of it almost unconsciously
|
||
|
|
as sparkling or radiant. The human head is the greatest center
|
||
|
|
of perfections, then, because it embraces the greatest variety of harmonies.
|
||
|
|
|
||
|
|
3. A Beautifid Hitman Form starts with the smallest number of harmonies in infancy, and increases in its variety of per-
|
||
|
|
fections until fully matured. The young babe (fig. 59) presents but little excepting gradation, and this in the form of rather stiff
|
||
|
|
curves. Emm^ (fig. 57), who is a little older, shows a greater distinctness of chin and diversity of curves, Katie (fig. 58) shows still greater diversity of curves, and shows not only
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
fre4e2r gradations than the others, but a fair amount of contrast, as the hair contrasts in form and color with the face, and the features are more prominent. In figures 60, 62, and 71, we have the mature form, and find not only more distinct contrasts, but
|
||
|
|
more exquisite gradations of both form and color, and these harmonies extend to the bust and other parts of the system as well
|
||
|
|
as to the head. Let the reader notice that there is a great contrast in the size of the gradations in mature forms, but very lit-
|
||
|
|
tle in quite young children, especially the curve of the cheek as compared with that of the chin, or the convex curve of the cheek as compared with the concave curve uniting the cheek and chin. In figures 57, 59, 89, and the small forms on the outer portions of fig. 61, this concave curve will be seen to be nearly as large as the convex curve forming the cheek itself, but notice the great change as the forms become more mature.
|
||
|
|
4. Forms, Motions, etc. We see, then, that however beautiful or effective an object may become through gradation or con-
|
||
|
|
trast alone, it attains to a still higher perfection when it combines both without violating analogical harmony, and a still
|
||
|
|
higher perfection when it combines the harmonies of form, color,
|
||
|
|
motion, etc., than when it combines only one department of harmony. A rocket shot upward in the daytime is an uninterest-
|
||
|
|
ing object compared with what it is at night, for in the daytime it makes a feeble gradation of form, of velocity, and of sound,
|
||
|
|
while in a silent dark night these gradations are far more distinct, and the contrast of brilliant lights and colors with the
|
||
|
|
surrounding shadows, as well as of motions and sounds when the explosion takes place, gives it a tenfold charm.
|
||
|
|
5. Landscape. The finest contrasts and gradations can be included in a single landscape, but analogical harmony requires that the two styles be not too much combined in the same place, as the gracefitl style in which curved walks and sweep of surface
|
||
|
|
and round-topped trees abound, should not pass too abruptly into Xh^ picturesque style, in which cliffs, cascades, spiry-topped and jagged trees and similar contrasting features abound. A view, however, combining both styles of landscape is peculiarly charming This may be illustrated by a sail doWn the Hudson,
|
||
|
|
on the right side of which are mountains and Palisades, illustrali Mg the picturesque and sublime, while on the left side are more
|
||
|
|
|
||
|
|
THE LAW OF PERFECTION.
|
||
|
|
|
||
|
|
43
|
||
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|
||
|
|
sloping banks, with mansions, lawns and parks, in harmony with the beautiful.
|
||
|
|
6. Light, Shade, and Color. We have already seen how
|
||
|
|
poor the effect in a cut like fig. 40, where contrast exists without gradation as compared with figures 38, 41, 70, etc., in which
|
||
|
|
contrast and gradation are both combined. In a sunset sky we may see gorgeous contrasts of light and shade and color on the clouds, also exquisite gradations of the same progressing toward shadow from west to east, and analogical harmony ruling throughout. Is it not far superior to the shadowy sky of a thunder-storm, in which contrast alone rules 1
|
||
|
|
7. Ike Aurora Borealis, or NortJie7ii Lights, combine a great
|
||
|
|
|
||
|
|
Fig. 96. The Aurora Borealis.
|
||
|
|
variety of harmonic principles (fig. 96), such as a general archway, or gradation of direction, gradation of light and shade, gradation ofvelocities in the shooting lights, contrasts of light and
|
||
|
|
shade, contrasts of direction, of color and of size, while a general law of analogy blends the whole in one. We may see just
|
||
|
|
the reasons, then, for its being considered one of the most beautiful sights in nature.
|
||
|
|
8. Architecture. It may rivet these great principles upon the
|
||
|
|
reader's mind by showing how they may be applied to regulate architecture, an art of which even architects too often fail to un-
|
||
|
|
derstand the spirit. Figures 97, 98, 99, 100, present the leading
|
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||
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|
/
|
||
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|
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|
44
|
||
|
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|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
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|
||
|
|
roofs of the world. The Oriental is the simplest and will answer for rainless climates ; the Grecian, being an obtuse angle,
|
||
|
|
has a little more decision and strength, and will shed rain, but is not so adapted to snow ; the Gothic, being an acute angle, is the strongest and most spirited of all, and is adapted to snowy
|
||
|
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|
||
|
|
GrecFiiagn- 9Roof7. - GotFhiigc. R9oo8f. . ChinFeisge. 9Roo9f.. OrieFnitga.l 10R0o.of.
|
||
|
|
regions, while the Chinese is the most graceful, but is weak. The dotted lines on the outside of fig. 98 show the modification of the Gothic, called the French or Mansard roof, and is espe-
|
||
|
|
cially well adapted to residences. The dotted lines in fig. 99 show a more graceful modification of the same, having both gra-
|
||
|
|
dation and contrast, while the other has contrast mainly. Fig. loi, shows a cottage in this style,
|
||
|
|
which I have copied from Godey's Lady's Book. It is graceful and spirited. The dotted lines in the
|
||
|
|
center of fig. 98 show how a spire is only a steeper Gothic roof. In the mere outlines of roofs, the Grecian has but a feeble contrast
|
||
|
|
of direction and no gradation, the Gothic a spirited contrast, the Fig. loi. Cottage with Mansard Roof. Chinese both contrast and gradation, while the Oriental has a death-like unity, wholly lacking in diversity. The simplest form of a Greek building with its low
|
||
|
|
roof and rectangular windows (fig. 82), has contrasts but no gradation. This, of course, was too unbeautiful for the finer build-
|
||
|
|
ings, and so pillars, with their flutings and volutes and leaf-work added gradation, as did also the statuary and other sculptured forms which were placed under the roof. In the common Greek edifice contrast rules, and that of rather feeble character, al-
|
||
|
|
though when modified, as in fig. 102, gradation and contrast are combined, with gradation and grace as the analogical feature.
|
||
|
|
|
||
|
|
THE LAW OF PERFECTION.
|
||
|
|
|
||
|
|
45
|
||
|
|
|
||
|
|
But the Greek style, although capable of much elegance in its simplicity by means of pillars and sculpture, is on the whole a feeble style, with its main lines horizontal and earthly, and
|
||
|
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|
||
|
|
poorly suited for religious or state edifices where majesty of spirit is
|
||
|
|
|
||
|
|
required. The Gothic, on the con-
|
||
|
|
trary, with its magnificent contrasts of spires, turrets, pinnacles,
|
||
|
|
|
||
|
|
buttresses, pointed arches and mas-
|
||
|
|
sive towers, all heaven-pointing, softened down and refined by the
|
||
|
|
|
||
|
|
most exquisite gradations of every kind, is the sublimest, strongest, most spirited and most expressive style of architecture that has thus
|
||
|
|
|
||
|
|
far been devised by man. Its pinnacles, with their bud-like finials,
|
||
|
|
denote upward growth ; its windows
|
||
|
|
|
||
|
|
102. A Greek Portico.
|
||
|
|
|
||
|
|
have leaf-like arches, unequaled for strength ; its vaulted ceilings,
|
||
|
|
sustained by pillars which branch off like trees, are built seem-
|
||
|
|
ingly for eternity, while in every direction the curved flower and leaf-
|
||
|
|
|
||
|
|
work proclaim nature as the divine model which it aims to copy. Fig. 103 gives a portion of a fine Gothic edifice which is a celebrated seat of
|
||
|
|
|
||
|
|
learning. It shows a variety of contrasts of height, of direction, of size,
|
||
|
|
of light and shadow, as well as various gradations of size and direction, and
|
||
|
|
an admirable analogical harmony - in the midst of its great diversity. The
|
||
|
|
spirit of the Gothic style is to " beau-
|
||
|
|
whentify iuttilitoy,r" naasmePnugtisn seuxcphresfseeasturiets; foasr
|
||
|
|
pointed arches, buttresses, and even towers and pinnacles, it deals with that which is eminently strength-giv-
|
||
|
|
ing, whereas when the Grecian style
|
||
|
|
|
||
|
|
Fig. 103. Eton Haii, England.
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
rea4r6s its immense columns and lofty porticos, it works for mere display, for these columns are useless in protecting either from the storm or from too great heat of the sun. The Gothic Archi-
|
||
|
|
tecture issometimes called Christian, from its heaven-pointing style, but as other religions also aspire after divinity and heaven, they have an equal right to it, especially as the Mohammedans are known to have used the pointed arch and upward aspiring minarets in A.D. 780, or something like four centuries before the Gothic was adopted by Christians. Figures 104 and 105
|
||
|
|
|
||
|
|
Fig. 104.
|
||
|
|
|
||
|
|
Fig. 105.
|
||
|
|
|
||
|
|
Ruins near the Taj Mahal, Agra.
|
||
|
|
|
||
|
|
represent old Mohammedan ruins in Asia, in which the pointed and upright features appear in many of the windows as well as minarets, domes, etc. This style is sometimes called Arabic, Moorish, or Oriental, and finds its analogical feature in curva-
|
||
|
|
ture and grace rather than in the contrasts and power characteristic of the Gothic. The most gorgeous specimen of architecture in the world is to be seen in the wonderful palace of the old
|
||
|
|
Moorish Monarchs in Spain, called the Alhambra. Although both the Moorish and Gothic architecture combine all principles
|
||
|
|
of harmony, yet the greater strength and spiritedness of the Gothic must give it the verdict of superiority.
|
||
|
|
In figures 106-110. I have given a glimpse of some notable domes and towers. Domes, towers, spires, turrets, pinnacles, and minarets are among the leading methods of producing the effect of loftiness, grandeur and spiritedness in a building, and sometimes, as when there are Gothic or Roman arches with
|
||
|
|
keystones, their weis'ht skives stabilitv to the walls and firmness to the arches. The United States Capitol, at Washington, has
|
||
|
|
|
||
|
|
THE LAW OF PERFECTION.
|
||
|
|
|
||
|
|
47
|
||
|
|
|
||
|
|
a do.ne which ranks among the great ones of the world, but depends upon gradation almost wholly for its effect. The Hotel
|
||
|
|
des Invalides, Paris (fig. 107), adds to its gradations those angular and projecting forms which give contrast, while the new Connecticut State House dome, at Hartford (Fig. 108), becomes
|
||
|
|
still more spirited in its fine contrasts and still more elegant in in its gradations of size and direction than either of the others. It has a form which is a transition from the dome to the tower.
|
||
|
|
Fig. 109, is the central lower of the magnificent New York State
|
||
|
|
capitol at Albany, and although an elaborate piece of architecture, itis built in the renaissance style and hardly knows whether
|
||
|
|
to assume the spirited combinations of the Gothic or the tamer
|
||
|
|
grace of the Roman arch system, or the pediments and horizon-
|
||
|
|
|
||
|
|
Fij^. 106. Fia;. 107. Dome Fig. 108. Fig. 109. Central Fig. 110. Tower DaotmeWasofhiCanpgittooln.of Hloitdeesl, dPeas rIinvsa-. ConHno,useS.tate TYo.weSrtateof HtohueseN.. HaorfvaMredmorUinailverHsailtly,.
|
||
|
|
tal lines of the Greek architecture, and thus must be pronounced deficient in individuality and analogical harmony. Not so with the Gothic tower of the Memorial Hall of Harvard University (Fig. 1 10), which is one of the finest styles of architecture in the country, spirited in its angles, colors and forms and yet refined in its gradations. It borrows some of its refinement from the Mansard Gothic. Fig. 1 1 1, from the same building, has much of the effectiveness of a spire and yet simplicity of style and a cer-
|
||
|
|
tain analogical harmony with the roof, of which it seems to be an outgrowth. Fig. ii2 is one of the spirited and elegant side towers of the Connecticut State House. Figures 113, 114, are graceful and effective portions of the gateway of Greenwood Cemetery, Brooklyn, the latter of which shows how a gable can grow into a spire-like form and how the rudeness of a sharp
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
ang4l8e can be softened by curvature. Fig. ii 5 is a ventilator,,
|
||
|
|
|
||
|
|
and gives more variety of effect to the top of a building. Fig. 116 is the top of Bunker Hill Monument, a great rude, meaning-
|
||
|
|
less heap of stones, devoid of beauty, or soul, or harmonic prin-
|
||
|
|
|
||
|
|
ciples— simply one of the " bignesses," as Isaac Newton would say, quite unworthy of the cultured taste of Boston. ''But this
|
||
|
|
|
||
|
|
elaborate work, this beauty, costs money which should be taken
|
||
|
|
|
||
|
|
to feed and clothe the superficial utilitarians
|
||
|
|
|
||
|
|
poor," is to whom
|
||
|
|
|
||
|
|
the the
|
||
|
|
|
||
|
|
common remark. To these bread-and-butter side of life
|
||
|
|
|
||
|
|
is the chief object of existence, I would like to make a remark as
|
||
|
|
|
||
|
|
we pass. Suppose that in the place of this rude mass, an object
|
||
|
|
|
||
|
|
of beauty and inspiration had been reared, that scenes expres-
|
||
|
|
|
||
|
|
sing high aspiration and self-sacrifice and grand achievement had
|
||
|
|
|
||
|
|
been sculptured on its sides in a way to last a thousand years, so that millions of people should cast their admiring gaze upon it
|
||
|
|
|
||
|
|
FIiIIg.. 1F1i2g,. F11i3g.. 1F1i4g.. F11i5g.. 1F1i6g.. F11i7g.. 1F1i8g.. 1F1i9g.. 1F2i0g.. F12i1g.. 1F2i2g,,
|
||
|
|
and drink in its lessons, would it not tend to lift multitudes above the gross appetites and sensualities of life to such an extent that it would save them from a large amount of poverty and degrada-
|
||
|
|
tion.? Fig. II/, the Washington Monument, is better, but is far from what it should be. Fig. 1 18 is the tower of the University of Toronto, and although the body of the tower is not very spirited^ the round pointed turret at the corner adds greatly to its effect and forms a contrast with it. Fig. 119 is the picturesque tower of the Masonic Temple in Philadelphia, which, though possessing some very pretty lines of gradation, has contrast and power as its leading spirit. Fig. 120 is a castellated tower, and stands rathe^ low on the harmonic scale, as it is totally lacking in gradation and is consequently rude. Fig. 121 is a portion of the cottage residence of Thomas W. Ludlow, Esq., near Yonkers, and will
|
||
|
|
show how chimneys and bay-windows, and roofs and verge-boards, and wings may serve to destroy the box-like character of a
|
||
|
|
|
||
|
|
49
|
||
|
|
ADAPTATION OR FITNESS.
|
||
|
|
house and give pleasing contrasts of light, shade, size and direction. Fig. 122 shows the form of buttresses which give so
|
||
|
|
much strength and picturesqueness to the walls of a Gothic building. Fig. 123 is the Oriental or Moorish horse-shoe arch, which although having a variety of contrasts in the way of straight lines and angles, has gradation as its leading spirit. Fig. 1 24 has also gradation as its predominating influence, although the acute angle at the top gives a spirited contrast. These ogee curves are simply lines of beauty, and although they form a most elegant arch, still they are less strong than that of the ordin-
|
||
|
|
ary Gothic window. It is much used also in Oriental architecture. Figures 125 and 126 have both styles of harmony, but
|
||
|
|
contrast and power seem to be their leading analogical spirit instead of gradation, as in the other two. Fig. 127, which I have
|
||
|
|
MoorFiisgh. 1Ar2c3 h.. Ogee FGiogt.hi1 c A2rc4h.. PerpendFiicgu.la1r 2Go5thi.c. GotFhiigc. G1a2b6.le,
|
||
|
|
taken from Harper's Monthly, is entitled a " Newport Cottage." It is full of the spirited lines of contrast and yet has some very graceful gradations, especially in the little spire at the left, and the curved line under the roof. The little spires give a brisk and aspiring effect to the building without resembling a church spire, and the many angles cause a diversity of light and shade which form a general unity of spirit in contrast.
|
||
|
|
XIII. Adaptation or Fitness.
|
||
|
|
I. Adaptatiofi of means to ends is a law of universal nature. We have seen that the unimpeded growth of nature is always according to harmonic principles, but there are times when great utilities demand the temporary suspension of these and the use for the time being of seeming or even real discords. The earth-
|
||
|
|
quake is very terrific and temporarily disastrous, but it brings
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
about the equilibrium of the earth's interior riches of the mineral kingdom
|
||
|
|
|
||
|
|
internal to the
|
||
|
|
|
||
|
|
forces, brings the surface, and gives
|
||
|
|
|
||
|
|
to man the charms of mountain and valley where otherwise would be a dead level.
|
||
|
|
|
||
|
|
2. In the process of Human Development also nature has rendered labor, effort d^ndi conflict an absolute necessity by leaving more or less of swamps and forests to be reclaimed, homes to be
|
||
|
|
built, fields to be tilled and boundless realms of knowledge to be
|
||
|
|
sought out, without which man would become utterly weak and worthless from inaction, and really be far more miserable.
|
||
|
|
3. Sufferi7ig has also its divine mission, ist, as a result of vio-
|
||
|
|
lated law and a warning against such violation ; 2dly, it gives dis-
|
||
|
|
|
||
|
|
1
|
||
|
|
|
||
|
|
Fig. 127. A Newport Cottage.
|
||
|
|
cipline, heroism and self-command when rightly improved ; 3dly, it is nature's process of purification as in the case of disease ; 4thly, it calls out human love for the unfortunate, the divinest of qualities, and Sthly, it answers as a shadow to reveal by con-
|
||
|
|
trast the real sunshine of life ; in other words, when perchance through severe experiences, blunders and struggles we have at-
|
||
|
|
tained tothe knowledge and wisdom which will do away with the necessity of so much suffering, our real joy and power will be greater than it otherwise would have been. It is the duty of the community, however, to elevate society by correct knowledge
|
||
|
|
|
||
|
|
ADAPTATION OR FITNESS.
|
||
|
|
|
||
|
|
and equitable laws into so true and wise a life that they shall not
|
||
|
|
|
||
|
|
need so much severe suffering to make them live rightly, while
|
||
|
|
|
||
|
|
they will find their happiness in performing voluntary labor,
|
||
|
|
|
||
|
|
instead of their misery in doing that which is forced upon them.
|
||
|
|
|
||
|
|
4. Thus we see that Absolute Evil does not exist, the universe
|
||
|
|
|
||
|
|
being under the reign of divine law, while all seeming evils are
|
||
|
|
|
||
|
|
but adaptations to some high end. Are fire and water innately
|
||
|
|
|
||
|
|
bad because they sometimes destroy life ? Is society fundament-
|
||
|
|
|
||
|
|
51
|
||
|
|
|
||
|
|
ally bad because much selfishness and crime occur in its midst ?
|
||
|
|
|
||
|
|
Is man necessarily evil because like an unripe apple he may as
|
||
|
|
|
||
|
|
yet be in his crude, sour state 1 Have we not seen that all natural growth is on the law of perfection, all things bearing the
|
||
|
|
|
||
|
|
stamp of divinity t Let us not indulge in the superficiality of pes-
|
||
|
|
|
||
|
|
simism then, but remember that harmony itself sometimes be-
|
||
|
|
|
||
|
|
comes more effective by the temporary suspension of harmony,
|
||
|
|
|
||
|
|
especially when some good end is sought. The great masters in
|
||
|
|
|
||
|
|
music sometimes introduce discord to heighten some after effect, and at times discordant or rude combination of colors are allowed
|
||
|
|
|
||
|
|
by the greatest artists for the purpose of expression. " Great art," says Ruskin, '* dwells on all that is beautiful ; but false art omits or changes all that is ugly. Great art accepts nature as she is ; but directs the eyes and thoughts to what is most perfect in her; false art saves itself the trouble of direction by removing or altering whatever it thinks objectionable. Beauty deprived of its proper foils and adjuncts, ceases to be enjoyed as beauty, just as light deprived of all shadow ceases to be enjoyed as light. A white canvass cannot produce an effect of sunshine ; the painter
|
||
|
|
must darken it in some places before he can make it look luminous in others ; nor can an uninterrupted succession of beauty
|
||
|
|
produce the true effect of beauty ; it must be foiled by inferiority before its own power can be developed. Nature has for the most part mingled her inferior and nobler elements as she mingles sunshine with shade, giving due use and influence to both, and the painter who chooses to remove the shadow, perishes in the
|
||
|
|
|
||
|
|
burning desert he has created." * 5. Nature does not employ beaiUy so incessantly as to destroy
|
||
|
|
adaptation arid utility. A clear sun is beautiful, and yet if we had not the soft shadows of night and occasional clouds and storms,
|
||
|
|
* Modern Painters, by John Ruskin, M.A., Vol. III. p. 34.
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE
|
||
|
|
the52earth would soon become parched and destroyed. But even in the storm, spirited elements of harmony and sublimity are brought into action.
|
||
|
|
6. In the Human Form, curvature is especially harmonious and consistent with its yielding nature. A circular building, however, is not pleasing for a residence, first, because it lacks in fitness for the utilites of home life ; and secondly, straight lines and angles, softened down perhaps with ornamental lines of cur-
|
||
|
|
vature, harmonize well with the natural decisiojt of the building materials themselves. Some have been so foolish as to suggest that buildings should resemble the human form.
|
||
|
|
7. The ouside of a building should be more sober in its tints than the inside ; first, because a white or nearly white building dazzles and burns the person approaching ; 2dly, the subdued light of the interior can better tolerate light-colored walls ; and 3dly, artificial light becomes more brilliant when the walls are not sombre.
|
||
|
|
8. Brilliant Colors are more admissible in theatres than in
|
||
|
|
churches, and yet the cultivated human mind requires that gaudiness shall not rule in the former nor gloom in the latter. To
|
||
|
|
those who look upon the severe side of God's character and consider that a majority of the human race are in danger of everlasting destruction, life and death become awfully solemn, and
|
||
|
|
only dimly lighted cathedrals, with silent tread of worshipers and the predominance of dark grays and browns would be con-
|
||
|
|
sidered incorrect taste.
|
||
|
|
9. In Dress, health requires that one's clothing should not be uniformly black, and analogical harmony requires that an elderly lady should dress in more subdued colors than a young girl. As to the sexes, woman, belonging to the graceful side of nature, in which gradation rules, sees intuitively that delicately tinted and
|
||
|
|
yielding skirts, hanging in curves around her, are far more appropriate than the stiff bifurcated garments of men ; while men, decided and strong in their style, dress more on the plan of contrast, parting their hair on one side, training their beards, which
|
||
|
|
contrast with the color of the face, and having mainly the simple contrast of black and white around the neck and bosom. Woman
|
||
|
|
loves to wear and man loves to see her wear, more ringlets, curls or flowing forms of the hair, and more ornamental forms and
|
||
|
|
|
||
|
|
TRUTH.
|
||
|
|
|
||
|
|
53
|
||
|
|
|
||
|
|
colors than is generally, becoming to the other sex. But taste and utility demand that her skirts shall be long enough to be flowing and protective to her limbs, and yet not long enough to become darkened with dust or interfere with a graceful gait, while health imperatively demands that all compression of the waist or feet, all large foreign masses of hair to heat the brain, and all abdominal pressure of skirts should be forever banished.
|
||
|
|
Does not beauty of form and grace of motion demand the same things
|
||
|
|
|
||
|
|
XIV. Truth.
|
||
|
|
|
||
|
|
Truth and conformity to law are universal in nature.
|
||
|
|
|
||
|
|
1. Nature is ever true to herself and all her great principles of harmony and adaptation. Were her laws of repulsion and attraction to be changed for one moment, the whole universe would become a mass of ruins. Natirre does not pretend to be what she is not, and holds up her swamps and deserts as freely to the sunlight as she does her sublimest landscapes. The light-
|
||
|
|
ning does not pretend to have the gracefulness of the rainbow, nor the rainbow the power of the lightning, nor the little stream the majesty of the great river, and yet all perform their especial work with unchanging faithfulness.
|
||
|
|
2. Light is the greatest truth-teller in the outward universe, flashing forth by means of its reflections the forms and colors of all nature, and by aid of the spectroscope giving a minute
|
||
|
|
analysis of all elements. " God is truth and light is his shadow," was the well-known expression of Plato. Even in the case of a mirage, where distant objects are seen double, there is nothing
|
||
|
|
but the strictest truth to nature's forces, the wonderful diversity of which simply causes a reflection in unexpected places.
|
||
|
|
3. " There is never vulgarity in a whole truth," says Ruskin. The whole atmosphere and sky and ocean are transparent media for conveying truth. Human eyes are mirrors to receive all truths of form and color, human ears sounding-boards for re-
|
||
|
|
ceiving the truths of tone, and the organs of smell, taste and sensation are constituted to perceive other styles of truth. It is of supreme importance that we should perceive and proclaim
|
||
|
|
|
||
|
|
54
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
exact truth. One of the subhmest things in the whole world,"
|
||
|
|
says Bulwer, " is plain truth." Every author's pen, every artist's pencil, every orator's tongue, every power of genius and states-
|
||
|
|
manship should work in harmony with all truth, which is the only pathway of safety, while error is not only the pathway of danger but of deformity.
|
||
|
|
4. Human Nature naturally scorns falsehood in principle, and
|
||
|
|
yet prejudice,, early training, psychological bias received from surrounding influences, theological ruts, medical ruts, political ruts,
|
||
|
|
social ruts, all worn so deep by long use that small men getting into
|
||
|
|
them cannot see out, or get out, have tended to lead into darkness and mar the heavenly image of truth. Why is man thus
|
||
|
|
behind external nature in his development } Because he is the last and highest phase of nature and has not yet reached his true moral and spiritual era of unfoldment. It may require a century to build a great cathedral, while a cottage could be finished in a month ; in the same way it may require a thousand centuries to perfect the mental and moral structure of man, which is so vast in its possibilities as to take hold almost upon infinity, while the processes of evolution could develop the simpler external phases of nature in a vastly shorter time, just as it took millions of years to develop a mammal after a mollusk had been perfected.
|
||
|
|
|
||
|
|
XV. Refinement of Material.
|
||
|
|
|
||
|
|
Other things being equal, substances are exquisite, peneti'atingy powerful^ ajid enduring in their effect in proportion as they are refined and sitbtile.
|
||
|
|
I . Nature is full of proofs of this law ; but I must treat it only briefly here. The grossest form of water is Ice, A more re-
|
||
|
|
fined form is ordinary Water, and this, when put in motion, can sweep away houses, forests and rocks. A still more refined form is steam, which is about 1700 times as light as water, and its tre-
|
||
|
|
mendous power in driving the most ponderous machinery is well known. A grade of power vastly finer than steam is Electricity, and this, uniting with steam far down in the bowels of the earth, will at times blow the mountains asunder and cause half a con-
|
||
|
|
tinent totremble. Having reached electricity, we have found a
|
||
|
|
|
||
|
|
REFINEMENT OF MATERIAL.
|
||
|
|
|
||
|
|
55
|
||
|
|
|
||
|
|
principle so fine that it can penetrate more or less well all tan,,gible substances.
|
||
|
|
2. Of the exquisiteness and amazing power of LigJit, demonstrations will be given hereafter.
|
||
|
|
3. Finer than any of these is "Cvlq Attractioit of Gravitation, which, according to the demonstration of La Place, moves mil-
|
||
|
|
lions oftimes as swiftly as light, and yet is so mighty as to float all worlds on its breath and so exquisitely gentle as to yield to a mote in the sunbeam.
|
||
|
|
4. The explanation of those wonderful Sotil-ema7iatioi is which. are the quickening power of mentality and by means of which man is enabled to move outward and measure and weigh suns
|
||
|
|
and systems and to look inward upon a still mightier psychic world, I must reserve for the tenth chapter of this work and for a future work. A single example may be given here to illustrate this law.
|
||
|
|
5. The coarsest grade of heat is the form of Ordinary Fire, or heated metals. A person may warm himself by this, and he will often feel weak and tender afterward by the means. If he warm himself by heat from the sun, which is a grade finer, he finds it less weakening and more enduring. If he warm himself
|
||
|
|
by exercise or by manipulation from some warm magnetic hand, not only are the lower animal but the higher psychic forces put more or less into action, and he may become permanently warmer
|
||
|
|
and stronger. Thus are the fine forces more safe, powerful, exquisite and endining than the coarser forces of the outward
|
||
|
|
world, such as ordinary heat, mineral drugs, etc. Their effect on mental action is also much more direct and potent. The great healing power of colors will be treated of in the chapter on
|
||
|
|
Chromo-Therapeutics. This principle is modified somewhat by the next.
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
56
|
||
|
|
|
||
|
|
XVI. Gradation of Instrumentalities.
|
||
|
|
|
||
|
|
Force is exerted through a gradation of i7istrumentalities, the general law of positive power being that a coarse element is acted
|
||
|
|
on or quickened by one which is finer, this again by one which is still finer, and so on.
|
||
|
|
1. Thus in the human system the bones are wielded by the muscles, which are a grade more subtile ; the muscles by the nerves and blood, which are still finer ; the nerves and blood are vitalized and controlled by still finer animal and psychic forces, and these again by spirit, which is inconceivably fine.
|
||
|
|
2. The fine forces constitute positive principles of power, while the coarser forces are the negative and reactive principles. It is impossible for one grade of force to control directly another which is too much below it in fineness or in turn be controlled
|
||
|
|
by it, any more than meal could be retained by a coal-sieve. Grosser elements may have a reflex influence upon the finer,
|
||
|
|
somewhat as the body may re-act upon the mind by having its cruder elements influence those less crude, and these again, those which are still less crude until the mind itself is affected. This
|
||
|
|
is a great negative law of power, and we must not fall into a very common error that all power lies with spirit, regardless of coarser re-active elements.
|
||
|
|
3. Some of the Leading Gradations in Nature are given in Fig. 128, commencing at the outside and progressing in fineness inward until we reach Spirit, which is the positive principle of ail power. The finer forces radiate their power through the whole circle of elements and forces, each force passing more or less through those which are coarser than itself, but more imme-
|
||
|
|
diately as a general thing, through the next grade of coarseness, while this again permeates that which is still coarser and so on. Thus Spirit gives life to the very finest ethers or Spiritual Forces ; these vitalize still coarser ethers, such perhaps as Electricity., Light, etc. ; these latter kindle up the gases and the liquids, while they again permeate and perhaps dissolve the Solids. Thus nature ever works on the law of Gradation, even sometimes when it does not seem to do so.
|
||
|
|
4. The Foregoing Principles inahx^Q the outlines of the science
|
||
|
|
|
||
|
|
GRADATION OF INSTRUMENTALITIES. 57
|
||
|
|
of harmony and power in nature ; also the central law, which shows that unity and diversity must be combined, and that on the law of progression, or contrast, or both. I have given them so that if possible we may at last get down to the basic prin-
|
||
|
|
ciples ofthings in connection with light and color. Nature is a divine guide if we apprehend its teachings rightly, but it is sad to
|
||
|
|
see how it is misunderstood. Prof. Taylor Lewis * says that
|
||
|
|
|
||
|
|
Fig. 128. Gradation of Elements and Forces.
|
||
|
|
|
||
|
|
if we obey nature it follows that an act of self-sacrifice would be as foolish as it is sinful and unnatural. It would be a viola-
|
||
|
|
|
||
|
|
My
|
||
|
|
|
||
|
|
tion ofnature's grand law." readers have seen how
|
||
|
|
|
||
|
|
Is not this all natitral
|
||
|
|
|
||
|
|
garoswlatnhderoveurponthenatwuhroel?e
|
||
|
|
|
||
|
|
world exemplifies paternal love, filial love and fraternal love.
|
||
|
|
|
||
|
|
More than that, the course of nature is an endless series of sacrifices
|
||
|
|
|
||
|
|
of lower conditions for the sake of introducing higher ones, of lozver
|
||
|
|
|
||
|
|
animal and vegetable life that a higher grade of existence might
|
||
|
|
|
||
|
|
* Since writing the above, this able writer has deceased.
|
||
|
|
|
||
|
|
i
|
||
|
|
|
||
|
|
I
|
||
|
|
|
||
|
|
58
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
take place, and sometimes of cities, islands and seas by an earthquake in order that terrestial Jiarmony may be established. The
|
||
|
|
greatest universal sacrifice is that of human life for the higher
|
||
|
|
life to come. Having established the general principles of harmony, I will
|
||
|
|
now notice their more direct application to colors.
|
||
|
|
|
||
|
|
XVII. Division of Colors.
|
||
|
|
|
||
|
|
1. Historical Note. In 1672, Isaac Nezvton published his
|
||
|
|
theory that the ordinary white light of the sun consists of different colors possessing different degrees of refrangibility. Still
|
||
|
|
earlier, however, in 1611, Antonio De Dominis had used the fol-
|
||
|
|
lowing words :— " Colors arise out of light : of this I have no
|
||
|
|
dthoeubtsev;enn-afyo,ldthdeiyvisarieononolfy cloilgohrts itasselsf.e"en* inIstahaec rNaeiwnbtoown aanddopstteildl
|
||
|
|
more distinctly in the solar spectrum, namely the red, orange^
|
||
|
|
yelloiv, green, blue., indigo and violet. Sir David Brewster considered the red, yellow and blue as the three fundamental colors
|
||
|
|
out of which all other colors are made ; but Helmholz has shown
|
||
|
|
that each color of the spectrum is formed by its own independent law of vibrations, which is incapable of subdivision, and that there is no overlapping of certain colors to make an intermediate color, as red and yellow to produce orange, yellow and blue to produce
|
||
|
|
green, etc. 2. When the reader comes to see how colors are produced,
|
||
|
|
he will understand that there are not only seven colors in the
|
||
|
|
sunHght which are uncombined with others, but many times seven. Fig. 129 will show how light is brought into a dark room by a very narrow opening and by means of a prism scattered into its separate parts, or colors which fall upon a screen in an oblong rainbow-colored form called the solar spectrum, the red being refracted least and the violet most from a straight line. Suppose
|
||
|
|
we make an opening in the screen at the point where the orange strikes it and then pass this orange ray through another prism behind the screen, will it be decomposed into the two colors yel-
|
||
|
|
low and red t No ; it will remain exactly as it was before, thus showing that it is a primitive and indivisible ray. This is not
|
||
|
|
* De Radiis Visits et Liicis, i6ii.
|
||
|
|
|
||
|
|
i
|
||
|
|
|
||
|
|
DIVISION OF COLORS.
|
||
|
|
|
||
|
|
59
|
||
|
|
|
||
|
|
saying that orange cannot be made by means of red and yellowpigments, but that it is not so constituted in the sunlight.
|
||
|
|
3. Soimd and Color compared : There is no harm in dividing the colors into seven divisions on the Newtonian plan. In fact It is rather a good division and harmonizes with the seven notes of the musical scale, C, D, E, F, G, A, B ; C answering to red, D to
|
||
|
|
orange, etc. As C is at the bottom of the milsical scale and made with the coarsest waves of air, so is red at the bottom of the Chro-
|
||
|
|
matic scale and made with the coarsest waves of luminous ether.
|
||
|
|
As the musical note B requires 45 vibrations of air every time Ihe note C at the lower end of the scale requires 24, or but little
|
||
|
|
|
||
|
|
Fig. 129. Decomposition of Light by the Prism.
|
||
|
|
over half as many, so does extreme violet require about 800 trillions *of vibrations of ether in a second, while extreme red requires only about 450 triUions, which also are but little more
|
||
|
|
than half as many. When one musical octave is finished an-
|
||
|
|
* In speaking of numbers I adopt the French method of enumeration of three figures to a period, usually adopted in America, instead of the more cumbrous English method of six figures to a period, so that when I say 800 trillions I mean 800,000,000,000,000. What we would call one billion the English would designate T^y the more complicated expression one thousand nnlliojis, etc.
|
||
|
|
|
||
|
|
6o
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
Other one commences and progresses with just twice as many vibrations as were used in the first octave, and so the same notes
|
||
|
|
are repeated on a finer scale. In the same way when the scale of colors visible to the ordinary eye is completed in the violet, an-
|
||
|
|
other octave of finer invisible colors, with just twice as many vibrations, will commence and progress on precisely the same law,
|
||
|
|
as will be demonstrated in the chapter on Chromo-Chemistry. The shortest atmospheric waves that ordinary ears can take cog-
|
||
|
|
nizance ofbefore the tones become too shrill to be perceived, are about three and a third inches in length, while the shortest violet waves, the effect of which can be perceived by ordinary external
|
||
|
|
vision, are 100,000 times as short, as it requires 60,000 vibrations, or in other words, 30,000 complete waves of such color
|
||
|
|
to make one inch in length. The longest waves of air which can be perceived as sound by human ears are about 70 feet in length, which constitues the lowest bass notes, while the longest complete waves of ether which can be received into human eyes as color, would require some 17,000 to 18,000 to an inch, or not far from fifteen million times as many as the largest waves of
|
||
|
|
sound require. Does this prove that the eye is capable of receiving impulses of force millions of times as exquisite as those
|
||
|
|
received by the ear ? By no means, as a far more refined force
|
||
|
|
- than mere waves of air must necessarily work in connection with them. (See Chap. Eighth, VI L, 4). Will it be answered that light moves 186,000 miles a second while sound moves through the air at the rate of only 1,100 feet a second ? But the fine principle of sound can be made to move as swiftly as light by aid of a proper conductor, as shown by the telephone, which has lately been made
|
||
|
|
to carry the human voice on wings of electricity entirely unaided byany magnet or electrical machine. A seeming advantage in favor of sound is that ordinary hum.an ears can distin
|
||
|
|
guish from nine to eleven octaves of musical tones while ordinary vision cannot perceive quite one octave of colors, in fact can
|
||
|
|
take in only the seven Newtonian notes, or a septave. This would seem to show that human evolution has not yet reached so far into the refined elements of vision as it has into the coarser
|
||
|
|
ones of sound, all development reaching coarser elements before they attain to the finer. While the seven color arrangement is
|
||
|
|
Convenient for some purposes, we may also have a still more funda-
|
||
|
|
|
||
|
|
A TRIAD OF SECONDARY COLORS. 6l
|
||
|
|
mental classification of only three colors to match the three fundamental notes in the musical scale, the first, third and fifth. Some trinal divisions of colors will simplify matters to the
|
||
|
|
reader's mind and will now be given, although as will be seen hereafter a division of fourteen primary color rays would seem to conform to the law of chemical and molecular forces.
|
||
|
|
|
||
|
|
XVIII. — Triad of Primary Colors.
|
||
|
|
A few words may be appropriate as to the threefold division of representative Colors. We have.
|
||
|
|
Red, an exciting color at nearly the centre of heat. Yellow, the medium color and centre of luminosity. Blue, a fine color which is cold, soothing, electrical. Practically all colors can be made out of these or could be if Ave could get a supply of the invisible red to assist in forming violet and indigo and could find pigments of absolutely pure red, yellow and blue. We have also
|
||
|
|
|
||
|
|
XIX. — A Triad of Secondary Colors.
|
||
|
|
|
||
|
|
Orange composed of equal parts of red and yellow.
|
||
|
|
|
||
|
|
Green
|
||
|
|
|
||
|
|
"
|
||
|
|
|
||
|
|
blue and yellow.
|
||
|
|
|
||
|
|
Purple
|
||
|
|
|
||
|
|
"
|
||
|
|
|
||
|
|
"
|
||
|
|
|
||
|
|
blue and red.
|
||
|
|
|
||
|
|
XX. — A Triad of Achromatic or Neutral Colors. Pl. II, 4.
|
||
|
|
Black composed of equal parts of red, yellow and blue. White composed of five parts of red, three parts of yellow, and eight parts of blue.
|
||
|
|
Gray {normal gray), composed of black and white This is given from the formula of eminent artists and would
|
||
|
|
seem to prove that after all "black is white, and white is black," but not quite. It cannot be verified entirely in practice from the impurity of pigments. When we call them neutral we mean neutral, chromatically speaking, as they have no especial hues, but white is the most positive of all colors as to luminosity. The folly of calling black the absence of colors is now done away with among the intelligent, although it is really caused by the absorption of all colors. Normal gray is the most neutral of all colors and does not make discord with any.
|
||
|
|
|
||
|
|
62
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
XXI. — A Triad of Primary Grays.
|
||
|
|
|
||
|
|
Red Gray, or Russet, composed of normal gray and red. Yellow Gray, or Citrine, of normal gray and yellow. Blue Gray, or Olive, of normal gray and blue.
|
||
|
|
|
||
|
|
XXII. — A Triad of Secondary Grays.
|
||
|
|
|
||
|
|
Orange Gray, composed of normal gray and orange.
|
||
|
|
|
||
|
|
Green Gray, "
|
||
|
|
|
||
|
|
"
|
||
|
|
|
||
|
|
" green.
|
||
|
|
|
||
|
|
Purple Gray, "
|
||
|
|
|
||
|
|
"
|
||
|
|
|
||
|
|
" purple.
|
||
|
|
|
||
|
|
Orange Gray and Red Gray are sometimes called brown.
|
||
|
|
|
||
|
|
XXIII. — Trinal Division of Tints and Shades.
|
||
|
|
|
||
|
|
1st. LigJit tints of a color in which some white is introduced,, as light yellow, light blue, light green, light gray, light greengray, light blue-gray, etc.
|
||
|
|
2d. Medmm grades of color, such as ordinary yellow, purple, red-gray, green-gray, etc. 3d. Dark Shades of Color, in which some black is intro-
|
||
|
|
duced, asdark yellow, dark blue, dark green, dark red, dark gray,, dark red-gray, etc. These are said to have a lower tone.
|
||
|
|
XXIV. — Trinal Division of Hues.
|
||
|
|
|
||
|
|
The three basic colors, red, yellow and blue, should have adefinite meaning and for this reason it is not so correct to say green-blue, orange-red or green-yellow, as it is to say blue-green». red-orange, yellow-green, for the great central colors are not to bend to the secondaries but the secondaries to them. From
|
||
|
|
the imperfection of language, however, we sometimes are forced
|
||
|
|
to say reddish-blue, yellowish-blue, bluish-red, etc., and by these terms we mean blue with a very slight tint of red, blue with a. slight tint of yellow, red with a slight tint of blue, etc. A general threefold division of the secondaries may be made asfollows :
|
||
|
|
Orange, combination of red and yellow. Red-Orange, red and yellow combined, with red in excess.. Yellow-Orange, red and yellow combined, with yellow ia excess.
|
||
|
|
|
||
|
|
NOMENCLATURE OF COLORS.
|
||
|
|
Green, combination of yellow and blue. Yellow-Green, yellow and blue, with yellow in excess. Blue-Green, yellow and blue, with blue in excess. Purple, combination of red and blue. Blue-Purple, red and blue, with blue in excess. Red-Purple, red and blue, with red in excess. For further study of the colors see plate II., i, in which the part of purple nearest the blue is blue-purple, that nearest the red is red-purple, that between these points near the periphery is deep medium purple, that near the centre, light purple, and so with the other hues, which may also be represented in fig. 3 of same plate. As I have said violet cannot be exactly repre-
|
||
|
|
sented byany two pigments combined, but I have had a bluepurple placed on the plate as the nearest representation of the violet.
|
||
|
|
XXV. — Nomenclature of Colors.
|
||
|
|
I. We have thus a very simple and yet comprehensive nomenclature of colors by means of which we may use precision of
|
||
|
|
expression on this subject, a thing in which scientists themselves are somewhat deficient. For instance if we take different color combinations in which red used, we have such
|
||
|
|
terms as reddish black, dark red-gray, red-gray (russet), light red-gray, red, light red, very light red or pink, reddish white, red-orange, red-purple, reddish-blue, reddish-yellow, red with a very slight tint of blue, as in carmine or crimson, light red-orange, dark red orange, orange, yellow-orange, light orange, dark orange, orange gray, light orange-gray, dark orange-gray, pur-
|
||
|
|
ple, light purple, dark purple, purple-gray, light purple-gray, dark purple-gray, etc. These are some of the terms which in-
|
||
|
|
clude more or less of red, and the other colors can be varied on the same principle.
|
||
|
|
2. The chromatic hues consist of the primary and secondary
|
||
|
|
colors, and also appear more dimly in the primary and secondary grays, etc. The achromatic or neutral colors include the
|
||
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|
black, gray and white. Some choose to give the combmation of two secondaries the name of tertiaides ; thus, for instance, green and purple are said to form the tertiary olive or blue gray. But
|
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|
64 HARMONIC LAWS OF THE UNIVERSE.
|
||
|
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||
|
|
the other method which I have adopted is much simpler, and amounts to the same tBhliuneg,, thus :—
|
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|
Purple =
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|
I'u' Green = I1 Blue
|
||
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|
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|
}
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||
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|
I = Blue-Gray.
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||
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|
= ^^"^>^-
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In other words, purple and green include the three primaries
|
||
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|
||
|
|
and blue besides, and as the three primaries when combined in
|
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||
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|
a certain way make gray, it would have been much simpler to
|
||
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||
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|
have said m the first place that blue-gray is formed by combining blue and gray, as signified by the name itself. In the same
|
||
|
|
|
||
|
|
way green and orange form yellow-gray ; orange and purple, red-gray.
|
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|
XXVI. — Triad of Colors, Tones and Forms.
|
||
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|
Before proceeding to illustrate harmony of colors, let us pause a moment to notice a threefold arrangement also in sounds
|
||
|
|
and forms. The delightful tri-chord in music, called the triad, consists really of the leading fundamental sounds, by modifying which all music is formed. This, however, is well understood
|
||
|
|
and I will dwell briefly on the triad of leading forms, the triangle, the hexagon, and the circle. The triangle, like the red color
|
||
|
|
to which it answers, is bold and stimulating and the coarsest of forms, as that is the coarsest of colors. The circle, answering
|
||
|
|
to the blue color, and the type of all curvature, is soothing and fine in its degrees, while the hexagon, like the yellow color, is the medium between extremes. The triangle abounds in spirited,
|
||
|
|
hard, crystallic substance, such as the diamond, zinc-blende, magnetic iron ore, fluor-spar, topaz, arragonite, and various octohe-
|
||
|
|
drons and rhomboidal forms. The hexagon is doubtless the most admirable of all angular forms, combining spiritedness of angles with regularity of contour, a character which is lacking in triangles and octagons. Hence it is a favorite form in nature,
|
||
|
|
being found in honeycombs, crystal of quartz, ice, calcareous
|
||
|
|
spar, beryl, apatite, snow-crystals, which are either hexagonal or at least arranged in six divisions, cellular tissues in many vege-
|
||
|
|
table and some animal growths, etc. The circle and the blue color, which it matches, are found beautifully combined in the sky
|
||
|
|
|
||
|
|
HARMONY OF GRADATION IN COLORS. 6$
|
||
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|
which is nature's representative dome, and the infinitude of starry worlds, including our sun, which beautify its expanse, are also mainly on the plan of the sphere which includes an infinity of circles. As the triangles and other angular forms of which it is the type belong more to hardness, spiritedness and power, so does the circle and other curved forms of which it is the type deal with softness, gentleness and grace, as with the sky, the hu-
|
||
|
|
man form and all worlds, which last were soft when they assumed their spherical shape. In this it is matched by the blue
|
||
|
|
color again, which stands at the refined end of the scale, and prevails in the soft depths of • the sky, the ocean and the whole world of foliage, atlhough the foliage combines yellow with the blue, and presents an infinitude of curvature. The violet would naturally be represented by the oval, which is more exquisite than the circle, and this oval must approach more and more nearly to points, one at the small end and two at the large end, in pro-
|
||
|
|
portion, as it becomes extreme and draws near to the red of a higher scale of colors.
|
||
|
|
XXVII. — Harmony of Gradation in Colors.
|
||
|
|
1. Having now seen the parallelism and the unity which exist through the great departments of nature, and some of the beautiful progressions and contrasts by means of which this unity is enriched by diversity, let us now apply these principles more directly to light and color. First, then, we will look at gradation, or the law of gentle progression.
|
||
|
|
2. The achromatic gradation between black and white constitutes different degrees of normal gray as in fig. 130.
|
||
|
|
Very Dark Gray. Dark Gray. Gray. Light Gray. Very Light Gray.
|
||
|
|
Fig. 130. Gradation of Normal Gray.
|
||
|
|
3. A Gradatio7i of Chromatic Grays may be seen beautifully developed in plate I. Fig. i in the centre is white ; 2 is a light normal gray ; 3 is the circle of 5 light chromatic grays, such as
|
||
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|
||
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66
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
light yellow-gray, light yellow-green-gray, light green-gray, light blue-green gray, light blue-gray, light blue-purple or violet-gray, light purple-gray, light red-purple gray, light red-gray, light red. orange gray, light orange-gray, and light yellow-orange gray, which completes the circle ; 4 is the circle of medium grays, as yellow-gray, yellow-green gray, green gray, etc., around the circle as before ; 5 is the circle of dark grays, such as dark yellow-gray, dark yellow green gray, dark green gray, etc. The dark orange and red gray are often called browns. These grays form ex-
|
||
|
|
quisite colors for buildings, for ladies dresses, etc. 4. By looking at the inner circular portion of Plate II., grada-
|
||
|
|
tion ofform in the shape of the circle will be seen, within which gradation of hues extending around the circle is given, as also gradation of tints in which the colors fade away into the light as they move inward towards the star. Let us notice these grada-
|
||
|
|
tions more minutely. 1st, we have Gradation ^t/ direction in the circle.
|
||
|
|
2d, Gradation of Hues in the following order : red, redorange, orange, yellow-orange, yellow, yellowgreen, gree7i, bluegreejt, blue., blue-purple, pinple, red-purple.
|
||
|
|
3d, Gradation of Tints and Shades as deep red, medium red, light red or pink, deep orange, orange, light orange, deep yellow, yellow, light yellow, etc.
|
||
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|
XXVIII. — Gradation of Color in the Spectrum.
|
||
|
|
I. When the sunlight passes through a slit leading into a darkened room, and then through a triangular piece of glass called a prism, as in fig. 1 29, the rays of light are separated by refraction into their constituent colors on the same plan as in the rainbow, and fall in an oblong figure upon the opposite wall. This oblong combination of colors is called the Solar Spectrum
|
||
|
|
(see Plate I.), and being nature's direct arrangement should be well studied in this and suceeding chapters, as laws of vast im-
|
||
|
|
portance will be found in connection therewith. Both the red end and the violet end of the spectrum fade off into black, at which point the chromatic hues cease, although the real sun power extends far beyond the visible portion at each end, as will be seen hereafter. The following diagram will give a rude idea
|
||
|
|
|
||
|
|
GRADATION OF COLORS IN THE SPECTRUM.
|
||
|
|
|
||
|
|
of the colors of the spectrum, the classification to the left of which will be thoroughly demonstrated in the chapter on Chromo Chemistry, and that at the right, in the chapter on Chromo Therapeutics.
|
||
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|
Black— Refined Grade.
|
||
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|
Violet Black.
|
||
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Cooling: and
|
||
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||
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|
Culmination of Light Culmination of Heat.
|
||
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|
|
Violet-Indigo. Indigo.
|
||
|
|
Blue-Green. Yellow-Green.
|
||
|
|
Yellow-Orange. Orange. aRed-Orange.
|
||
|
|
RDeadrdki-sRhed Blaorck. ThCeHoreamaretsle,RaG(yrIanvdaiensdibolfe
|
||
|
|
Black.
|
||
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|
||
|
|
Soothin-g to the
|
||
|
|
Nerves. and Blood.
|
||
|
|
Animati-ng to the
|
||
|
|
Nerves.
|
||
|
|
Exciti-ng to the
|
||
|
|
Blood,
|
||
|
|
|
||
|
|
Fig. 131. The Solar Spectrum Analyzed and Systematized.
|
||
|
|
2. Where I have it Culmination of Electricity, the old method was to denominate it Actinism or chemical force, but Prof. Draper and other scientists have shown that this is a misnomer, as
|
||
|
|
chemical power, only of another kind, dwells as much at the red end of the spectrum as at the violet end. In the chapter on Chromo Chemistry this matter will become doubly clear. An array of facts in chapter third will be adduced to show that the colors of the finer end of the spectrum are electrical and magnetic in their nature, while those of the coarser end, reaching to-
|
||
|
|
|
||
|
|
68
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
yellow-green inclusive, are thermal, or heating in their nature. The rays just below the red in the invisible portion, which are
|
||
|
|
|
||
|
|
the hottest of all, I have termed thermel from the Greek {Oipp.rj^^ therme, heat. For full descriptions of it, see Chapter Fifth ^ XXIII., 5, 6, 9, etc.
|
||
|
|
3. From the lower to the upper black the progression is toward superior coolness and fineness of vibratory action, and power to soothe the nerves.
|
||
|
|
4. From the upper to the lower black, the progression is towards superior warmth, coarseness and animation.
|
||
|
|
5. From both ends to the yellow, the progression is towards luminosity; from the yellow downward it is toward the coarse grade of shadow ; from the yellow upward, toward the fine grade of shadow.
|
||
|
|
|
||
|
|
6. There is a trinal series of gradations in peculiar potencies of colors, the centre and climax of electrical action which cools and soothes the 7ierves being in the violet, the climax of electrical action which is soothing to the vascular system being in the blue, the climax of luminosity being in the yellow, and the climax of thermism or heat in the red, and especially in the thermel just below the red. This is not an imaginary division
|
||
|
|
of qualities, but a real one, the flame-like red color having a principle of warmth in itself, the blue and violet, a principle of cold
|
||
|
|
and electricity. Thus we have many styles of chromatic gradation including progression of hues, of lights and shades, of fineness and coarseness, of electrical power, luminous power, thermal
|
||
|
|
power, etc. In Plate II., 3, the colors are ranged in a circle opposite those with which they form a chemical affinity, as the blue opposite the red, etc.
|
||
|
|
7. The following gives some leading Gradations of two colors from light to shadow.
|
||
|
|
|
||
|
|
Bluish White, (as in zinc). Yellowish White (magnesia).
|
||
|
|
|
||
|
|
Very light blue. Very light yellow.
|
||
|
|
|
||
|
|
Very light blue-gray. Very light yellow-gray.
|
||
|
|
|
||
|
|
Light blue.
|
||
|
|
|
||
|
|
Light yellow.
|
||
|
|
|
||
|
|
LigB ht bl luu e-e gr. ay. LighYtellyoewl.low-gray.
|
||
|
|
|
||
|
|
Dark blue.
|
||
|
|
|
||
|
|
Dark yellow.
|
||
|
|
|
||
|
|
Dark blue-gray. Dark yellow-gray. Bluish-black, or blue-black. Yellowish black.
|
||
|
|
|
||
|
|
HARMONY OF CONTRAST IN COLORS.
|
||
|
|
|
||
|
|
8. These, of course, may be varied in different ways. The other colors may be carried through the same gradations. In
|
||
|
|
fact, nature's gradations are infinitely diversified. There are gradations of contrasts, and contrasts of gradations, and grada-
|
||
|
|
tions of gradations without end in colors, forms, motions and sounds. The gradation of colors in the solar spectrum and the foregoing names are a somewhat more direct following out of nature than those of the colored circular plate.
|
||
|
|
XXIX. Harmony of Contrast in Colors.
|
||
|
|
See Plate II., Fig i.
|
||
|
|
|
||
|
|
1. Chevreitl of France first discovered and developed as a.
|
||
|
|
science the harmony of contrast in colors, and his theory so improved the effectiveness of the fabrics of France as to make
|
||
|
|
their superiority over those of other nations quite apparent,
|
||
|
|
|
||
|
|
especially at the World's Fair held in London in 185 1, and set the people to studying his works which simply exhibited what nature had been exemplifying and trying to teach through all the ages. In fact it will be shown in another part of this work,
|
||
|
|
|
||
|
|
just how, by means of chemical affinity, all contrasting sub-
|
||
|
|
stances and forces naturally tend toward each other and develop each other.
|
||
|
|
|
||
|
|
2. But how shall we ascertain the real harmonic contrasts of
|
||
|
|
|
||
|
|
any color } By simply getting its coinplenient. Thus if we take the triad of colors as our scale, we have red, for instance, forming a contrast with the combined result of the other two colors,
|
||
|
|
|
||
|
|
yellow and blue, which is green, yellow forming a contrast with
|
||
|
|
|
||
|
|
red -[- blue = purple, and blue with yellow -(- red = orange. We
|
||
|
|
|
||
|
|
may on this principle then construct
|
||
|
|
|
||
|
|
3. A Table of Harmonic Contrasts.
|
||
|
|
|
||
|
|
Red and Green
|
||
|
|
|
||
|
|
contrast harmoniously.
|
||
|
|
|
||
|
|
Yellow and Purple
|
||
|
|
|
||
|
|
"
|
||
|
|
|
||
|
|
Blue and Orange
|
||
|
|
|
||
|
|
"
|
||
|
|
|
||
|
|
"
|
||
|
|
|
||
|
|
Red-gray and Green-gray "
|
||
|
|
|
||
|
|
"
|
||
|
|
|
||
|
|
Yellow-gray and Purple-gray "
|
||
|
|
|
||
|
|
Blue-gray and Orange-gray ^
|
||
|
|
|
||
|
|
Red-purple and Yellow-green " Red-orange and Blue-green
|
||
|
|
|
||
|
|
Yellow-orange and Blue-purple
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
70Light red-gray and Light green-gray contrast harmoni-
|
||
|
|
|
||
|
|
ously.
|
||
|
|
|
||
|
|
Dark red-gray and Dark green-gray "
|
||
|
|
|
||
|
|
"
|
||
|
|
|
||
|
|
Deep-blue and Deep-orange "
|
||
|
|
|
||
|
|
"
|
||
|
|
|
||
|
|
4. The leading contrasts of color are presented on the title
|
||
|
|
|
||
|
|
page in connection with the contrast of form in the hexagon.
|
||
|
|
|
||
|
|
The tendency of a color to intensify its contrasting hue near it,
|
||
|
|
|
||
|
|
may be seen by looking at the six small circles within the hexagon. The gray on the inside of all of these is precisely the same,
|
||
|
|
|
||
|
|
and yet the red ring gives its interior a greenisJi cast, the green
|
||
|
|
|
||
|
|
ring brings out the red slightly, the purple a yellowish tint, the
|
||
|
|
|
||
|
|
yellow a purple tint, etc. 5. A little more exact arrangement of contrasting hues is
|
||
|
|
arrived at in connection with the seven colors of the spectrum,
|
||
|
|
|
||
|
|
which is nearly as follows : Red contrasts with green with a slight violet cast.
|
||
|
|
|
||
|
|
Orange contrasts with indigo or indigo-blue. Yellow contrasts with violet or bluish purple.
|
||
|
|
|
||
|
|
Green contrasts with red with slight violet.
|
||
|
|
|
||
|
|
Blue contrasts with red-orange. Indigo contrasts with orange.
|
||
|
|
|
||
|
|
Violet contrasts with yellow.
|
||
|
|
|
||
|
|
6. It is not to be considered that the colors will be absolutely
|
||
|
|
|
||
|
|
discordant if many variations from the above plan are adopted,
|
||
|
|
|
||
|
|
as blue contrasts very well with light red or yellow, etc. Any
|
||
|
|
|
||
|
|
two contiguous colors of the chromatic scale are always discordant, just as are any two consecutive notes of the musical scale.
|
||
|
|
Thus red makes discord with orange, orange with yellow, green
|
||
|
|
|
||
|
|
with blue, etc., except when they blend by a gradation.
|
||
|
|
|
||
|
|
7. The nentral colors, black, gray, white, are not positively
|
||
|
|
|
||
|
|
discordant with any, and yet they have their effect. Chevreul admits that black lowers the tone of all colors, zvhite hightens
|
||
|
|
|
||
|
|
the tone or depth of all, and gray makes them seem more brilliant
|
||
|
|
by contrast. He considers that white combines best with light blue, then with light red, and badly with orange ; while black combines best with red or rose, then with orange, then with
|
||
|
|
|
||
|
|
yellow, and poorly with light green.
|
||
|
|
|
||
|
|
HARMONIC COLORS IN ARCHITECTURE.
|
||
|
|
|
||
|
|
XXX. Harmonic Colors in Architecture.
|
||
|
|
|
||
|
|
1. There is such a great pressure of important matter that should be set forth with reference to the harmony and philosophy of colors that my applications of the subject to human art must necessarily be brief.
|
||
|
|
|
||
|
|
2. Nature's contrasts do not consist of antagonism or contrariness, onthe contraria contraribus law, but of spirited diver-
|
||
|
|
|
||
|
|
71
|
||
|
|
|
||
|
|
sity on the law of unity. How would a white house look with
|
||
|
|
|
||
|
|
the cornices and trimmings painted jet black 1 I speak of this
|
||
|
|
|
||
|
|
work of man because, in nature, I can find no such abominations
|
||
|
|
|
||
|
|
to quote from, or at least none excepting in cases of ruin or convulsion which temporarily suspends regular processes. Although
|
||
|
|
we may rarely ever see a person so rude in harmonic perception as to have his residence thus bordered with black, like a blot on
|
||
|
|
|
||
|
|
the fair face of things, yet many there are who will have the body of their houses almost white and the trimm.ings so dark that they seem to be dressed in mourning.
|
||
|
|
3 But suppose we have a house painted in its main body
|
||
|
|
|
||
|
|
with a light yellow-gray, which is nearly cream-colored, and trimmed around the windows, piazzas and cornices with a dark-
|
||
|
|
er yellow-gray, sufficiently contrasted to be very distinct without violence, we have then a harmonic contrast, the principle of uni-
|
||
|
|
ty being the yellow-gray which binds both colors in a brotherhood while the principle of diversity is the difference of light
|
||
|
|
and shade between the two.
|
||
|
|
|
||
|
|
4. Another style of harmonic contrast would be to trim the
|
||
|
|
|
||
|
|
same yellow-gray house with a purple-gray of equal depth of shade, as in Plate H., 5. In this case the principle of unity con-
|
||
|
|
sists in their both being of the same tone of gray, and the same depth of hue, while the diversity consists in difference of effect
|
||
|
|
between the yellow and purple, each of which brings out the purity of the other by contrast. 5. Again we may have a graceful Progression of Contrasts by
|
||
|
|
having light yellow-gray for the body, medium yellow-gray for the inner lines of the cornices and dark yellow-gray for the outer lines.
|
||
|
|
|
||
|
|
6. Soft hues of red gray for a house are exceedingly tasty, as they constitute a pleasing contrast with the green of the foli-
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
age,72and so are the different tints of the green-gray, if the green is not made too prominent, from its analogical harmony with the foliage.
|
||
|
|
7. One great charm of a country home is to have soft but effective contrasts of color as well as those contrasts of light, shade,
|
||
|
|
and forms exhibited in verandahs, bay-windows, towers, projecting roofs, angles, etc. In architecture a conU^ast of contrasts and
|
||
|
|
gradations is often very effectively exhibited in the bold angles, and straight lines, softened down by curved ornaments, espe-
|
||
|
|
cially inthe Gothic style, and also in the* Norman arch whose curves are rendered spirited by introducing straight lines and angles within the arch itself. To render the effect complete there should be a contrast of colors also.
|
||
|
|
8. Tasty Residences are painted with the trimmings and bolder lines darker than the body of the house. This gives a look of
|
||
|
|
strength; and seems to be most in harmon}^ with nature's great dome-work of the sky in which the sun fills the middle portion with light, and shades it off at the horizon with more sober hues.
|
||
|
|
Of course we cannot paint a hundredth part as beautifully as nature does, but we can follow her general principles afar off. The
|
||
|
|
contrasts of different colors of stone to form the arches of win-
|
||
|
|
dows and doors are very pleasing, if not made too distinct and if in harmony with the rest of the building.
|
||
|
|
9. Within the House the hues can be made more of delicate contrasts, and more or less of gradation of shading and tinting
|
||
|
|
can be used. What the wealthy should aim at in their residences, isto have the walls shaded off and varied with a soft and
|
||
|
|
cheerful ground work of color, in the midst of which skilled artists should paint their scenes, not of bloodshed and horror as on
|
||
|
|
the walls of the Palace of Versailles, but of landscape, of important historical events and of that which appeals to the true and
|
||
|
|
the beautiful. Thus the storm may rage without, and the great bustling world may have its corrupting influences, but within the sacred precincts of home, forever photographing their spirit, upon the souls of the family and visiting friends, are the bloom and verdure of nature, or some scene of grace and merriment, or a radiant and pleasing group of human forms engaged in some high purpose. These, of course, should not be brought out with glaring colors, but modestly and yet richly, so that more and more
|
||
|
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|
||
|
|
COLORS IN DRESS.
|
||
|
|
|
||
|
|
73
|
||
|
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|
||
|
|
they will grow upon the preception as they are viewed from time to time.
|
||
|
|
XXXL Colors in Dress.
|
||
|
|
|
||
|
|
1. I have already mentioned some of the adaptations of color in male and female dress. The kind of adaptation which consti-
|
||
|
|
tutes analogical harmony in the dress of a lady of blue eyes, fair complexion and auburn hair, would be well carried out by a light blue dress trimmed with a deeper or darker blue, and combined with white collars, etc., or the whole dress may be trimmed with white. Or if such person is not too aged, a white dress for warm weather would be in good taste. The blue forms a harmonic contrast to the auburn hair. But where the red is too prominent, blue should not be used. Some carry the analogical unity so far as to have jewels, gloves, and shoes of the same general color as the dress. The blue dress presents a contrasting harmony with auburn or light colored hair.
|
||
|
|
2. Blondes look well in light-colored dresses, bnmettes in darker ones, while rubicund countenances can wear to advan-
|
||
|
|
tage subdued tints of red, as in red-gray etc. 3. If a countenance is too pale, a greenish element will en-
|
||
|
|
hance the rosy color by contrast, while a purple tint near the
|
||
|
|
face will bring out the yellow and give a bilious, sickly appearance, which no one can well afford.
|
||
|
|
4. If a person's countenance is overflushed and rosy, a condition which is rarely seen among our American ladies, a red ribbon worn near the face will give a paler cast. 5. Contrasts of the positive colors, such as red and green,
|
||
|
|
blue and orange, yellow and purple, are too glaring to be in good taste except for military or theatrical costumes, and for the young. The grays of these same colors are much more tasty and modest.
|
||
|
|
6. Too much of the dark elements in the colors of clothing degrades the light into heat, and prevents its finest chemical ac-
|
||
|
|
tion on the human system. The relation of color to health, however, will be explained in the chapter on Chromo Therapeutics^ XXX.
|
||
|
|
7. Some people, including half-civilized nations and children, are charmed with flashing colors, and dazzling contrasts in their
|
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|
||
|
|
74
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
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|
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|
|
clothing, just as others must have violent contrasts of voice and
|
||
|
|
gesture in oratory before they will admit there is any eloquence. This comes from an undeveloped and stupid condition of the fin-
|
||
|
|
er perception, so stupid in fact that they must have blows that will almost overwhelm a sensitive person, before they can feel them. It is in harmony with a brilliant climate like that of Amer-
|
||
|
|
ica, however, that the people should adopt somewhat gayer colors than would be most suitable in England. While our ladies as a whole possess exquisite taste in dress scarcely equaled in Paris, some of them have still certain faults, such as being a little too . gaudy and going to the extreme of fashion, although these ex-
|
||
|
|
tremes may at times be devoid of taste, common sense, healthfulness or adaptation to their form or complexion. While our men can bow to fashion so much as to wear overcoats which dangle around their heels, making them resemble somewhat a rudely
|
||
|
|
dressed woman, or a little boy in his father's coat, oiir ladies ' wear skirts that drag in the mud, so that walking becomes a con-
|
||
|
|
stant burden from the weight of drapery that they must ever be lugging around in their hands.
|
||
|
|
8. The Straining after Effect, and violation of tj^ttth by the use of paints, enamels, bleaching and dyeing processes, are resent-
|
||
|
|
ed by nature, for just as soon as the pores of the skin become habitually clogged with these paints and enamels, and poisonous dyeing materials are resorted to, real dying begins to take place^ the blood moves less briskly, the skin grows more lifeless, the
|
||
|
|
eyes grow less sparkling, and the movements less elastic. Walking and exercising in the open air, sunlight, bathing, manipulation of the whole body, and simple nourishing food, will gradually
|
||
|
|
and surely bring nature's imperial stamp of beauty and power, and prevent all need of these falsehoods and deceptions in the way of ornamentation.
|
||
|
|
|
||
|
|
XXXII. Colors in Floriculture.
|
||
|
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|
||
|
|
I. While at the Gardens of Versailles near Paris in 1868, I was struck with the beautiful effect of contrasting lines of flowers, as well as the exquisite gradations and angles and curves in the flower beds themselves. Sometimes a bed would be bordered
|
||
|
|
with long lines of purple or violet flowers running parallel to another line of yellow flowers of about the same size, sometimes
|
||
|
|
|
||
|
|
COLORS IN FLORICULTURE. 75
|
||
|
|
clusters of flowers of one color would contrast with clusters of
|
||
|
|
another color, sometimes masses of red leaves and flowers will be encircled with contrasting masses of green foliage, etc. All
|
||
|
|
tasty parks and landscape-gardens now in our country and Europe pay much attention to the harmonies of color.
|
||
|
|
2. For valuable hints with reference to the arrangement and grouping of flowers, the colors of drapery, etc., I would refer
|
||
|
|
the reader to Chevreul's " Harmony and Contrasts of Colors." I will condense some of his ideas about the grouping of dahlias, etc. The three first groups below consist of five dahlias each
|
||
|
|
and constitute quincunxes : the other groups have seven dahlias :—
|
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These may be grouped as follows :— 1. Four Orange Dahlias with Purple Dahlia in centre.
|
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2. Four Purple Dahlias with Yellow DahUa in centre.
|
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3. Four Yellow Dahlias with Purple Dahlia in centre.
|
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4. Six Scarlet red Dahlias with White Dahlia in centre.
|
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5. Six White Dahlias with Scarlet red Dahlia in centre, 6. Six Pink Dahlias with White Dahlia in centre.
|
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3. The following is a linear arrange- 4. The following is another linear armient, with blue as its centre of unity in rangement of Primroses,
|
||
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|
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the middle plant :—
|
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|
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|
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i • Red Primrose
|
||
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|
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|
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1. Red Chrysanthemum. 2. White Primrose. 2. Yellow Chrysanthemum. 3. Orange Primrose.
|
||
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|
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|
|
3. White Chrysanthemum. 4- Lilac Primrose.
|
||
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|
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|
|
4. Orange Chrysanthemum. 5. Yellow Primrose.
|
||
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|
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|
|
5. Large Blue Aster.
|
||
|
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|
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|
|
6. Violet Brown Primrose.
|
||
|
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|
||
|
|
6. Orange Chrysanthemum. 7. White Primrose. 7. White Chrysanthemum. i. Red Primrose, and so on, repeating
|
||
|
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|
||
|
|
8. Yellow Chrysanthemum. as above. 9. Red Chrysanthemum.
|
||
|
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|
||
|
|
One leading law of unity in the above groups consists in having
|
||
|
|
|
||
|
|
the same style of plant, while the diversity consists in the contrasts of colors. Gradations of color, as well as in the forms of
|
||
|
|
|
||
|
|
grouping might be suggested, but space is lacking.
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
76 XXXIII. Synopsis of Harmonic Laws.
|
||
|
|
In reviewing our ground we find the following great laws drawn from the divine teachings of nature, and constituting a basis upon which all edifices of science and philosophy must be built if they are to assume eternal foundations :
|
||
|
|
1. The principle of Unity universal in nature, exemplifies the divijie Oneness and Attraction as zvell as the divine Fatherhood, also hiLinan Fatherhood and the law of Organization which is the tmifying pri7iciple of all families, societies and nations.
|
||
|
|
2. Tliis Unity is projected into boundless Diversity, thus exemplifying tJiedivine Repidsion and Infinity of Resources and pro-
|
||
|
|
claiming the law of Individual Life and Freedom. 3. Nature s great Law of Harmony is the equilibrium of the
|
||
|
|
principles of Unity and Diversity, exemplifying the imiversal ride
|
||
|
|
of Liberty combined with Lazv, of Centrifugal balanced by Centripetal Force, of Individual Effort working with Fraternal Organization, oRf epulsion and Attraction vitalizing and perfecting
|
||
|
|
each other ^ of Impulse and passional Propidsion harmonized by
|
||
|
|
the divine law of Right and self-control. 4. Gradation or regulated Progression is one of the great
|
||
|
|
leading methods in which nature manifests this Unity and Diversity. Its coiu'sc is ever toward some principle of excellence, being
|
||
|
|
manifested tJiroicgJi all the details of the tmiverse and carrying the whole upward toward superior conditions, and never downward tozvard inferiority, ruin or death excepting temporarily and for the sake of a higher perfection to come. It is a prominent law of beaiLty by means of which lights, shades and hues progress into each other and blend ; forms move by infinite steps in curvature, musical tones and oratojy pass into graceful sweeps and climaxes, while in society, this same principle softens down the angles and blunt points of life.
|
||
|
|
5. Contrast is the bold and spirited method by which natitre manifests her Unity and Diversity, combining tints, shades and colors in masses, forms in angular projections, and all things in decided transitions. It is the mascidine side of stature, and presents that display of power which we term Sublime, just as Gradation is the Feminine or graceful side, belonging to the beautifid.
|
||
|
|
6. Analogical Harmony is seen in nature in the form of some
|
||
|
|
|
||
|
|
SYNOPSIS OF HARMONIC LAWS.
|
||
|
|
|
||
|
|
77
|
||
|
|
|
||
|
|
ruling characteristic throzLgJioitt Jier leading departments^ as, for
|
||
|
|
instance, the bine color which predominates m the sky. In a7't on the same plan a leading tone of color is adopted throughout a paint-
|
||
|
|
ing, acertain Key-note for a mtisical composition, etc. 7. Violence and Flaming Contrast are exceptional mani-
|
||
|
|
festations ofnature, allowed only rarely and briefly for some important end.
|
||
|
|
8. Nature s unrestricted growth is never discordant. 9. All Beauty and all Natitral Growth exemplify Moral and
|
||
|
|
Spiritual Perfection. All objects which do not do so are deform-
|
||
|
|
ed. The person who takes cognizance of suns, stars, leaves, flowers, trees, landscapes and sounds as merely an assemblage of forms, colors, and tones devoid of this diviner expression, is blind and deaf to the principal meaning of the universe, and can never attain to the conception of High Art. Let those wJio de-
|
||
|
|
cry real Beauty then remember that they are condemning the expression ofthe Infinite Goodness.
|
||
|
|
10. Adaptation, which rules tJiroitgJiout nature, sitspends temporarily attimes the direct expression of Beatity and goodness for
|
||
|
|
the purpose of introducing some higher Good.
|
||
|
|
1 1 . Truth is the voice of all natiLre, and so-called works of art which pervert it must prove failures.
|
||
|
|
1 2. Elements are generally penetrating, exquisite, safe and powerful in their effect on man in proportion as they are refined and
|
||
|
|
subtile.
|
||
|
|
13. Force is exerted through a gradation of Instrumentalities. 14. Colors, like Musical Tones, are divided into seven distinct notes, and still more fmdamentally into three, constitiLting the
|
||
|
|
aTlrliealidsm.of the first, tJiird and fifth. Forms also present their pa7'-
|
||
|
|
15. In order the better to understand the great laws of things, I will here present more fully than in the preceding pages some
|
||
|
|
of the leading twofold and threefold divisions of mind and matter.
|
||
|
|
|
||
|
|
Diversity Contrast
|
||
|
|
Spirit
|
||
|
|
|
||
|
|
Dual Divisions of the Universe. Unity.
|
||
|
|
Gradation. Matter.
|
||
|
|
|
||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
||
|
|
|
||
|
|
L 78 ight, Repulsion, Positive Forces,
|
||
|
|
Centrifugal Force, .... Tints of Color, Chromatic Colors, ....
|
||
|
|
|
||
|
|
Shadow: Attraction. Negative Forces.
|
||
|
|
Centripetal Force. Shades of Color. Achromatic Colors.
|
||
|
|
|
||
|
|
Masculinity, Straight Lines,
|
||
|
|
Magnetism, Heat, Alkalies,
|
||
|
|
|
||
|
|
Femininity. Curves.
|
||
|
|
Diamagnetism. Cold. Acids.
|
||
|
|
|
||
|
|
Electro-Positives, . . . ' . Electro-Negatives. Organs of the Right side, . . Organs of the Left side. Warm or Thermal Colors, . Cold, Electrical Colors.
|
||
|
|
|
||
|
|
Luminous Orbs or Suns, . . " Non-luminous Orbs or Planets. Trinal Divisions of the Universe.
|
||
|
|
|
||
|
|
Triad of Primary Colors : . Triad of Secondary Colors : . Triad of Achromatic Colors :
|
||
|
|
Triad of Primary Grays : .
|
||
|
|
|
||
|
|
Red, yellow, blue. Orange, green, purple. Black, gray, white. [gray.
|
||
|
|
Red-gray, yellow-gray, blue-
|
||
|
|
|
||
|
|
Triad Triad
|
||
|
|
|
||
|
|
of Secondary of Chromatic
|
||
|
|
|
||
|
|
Grays Forces
|
||
|
|
|
||
|
|
: :
|
||
|
|
|
||
|
|
. \ O^^^S^"S^^y> P^^rple gray, . (Heat,grleiegnh-tg,raeyl.ectricity.
|
||
|
|
|
||
|
|
Triad of Achromatic Qualities : Tints, hues, shades.
|
||
|
|
|
||
|
|
Triad of Outlines : . , . . Straight lines, angles, curves-
|
||
|
|
|
||
|
|
Triad of Forms : ....
|
||
|
|
|
||
|
|
Triangle, hexagon, circle.
|
||
|
|
|
||
|
|
Triad of Musical Notes : . . First, third, fifth.
|
||
|
|
|
||
|
|
General Divisions of the vis- ( Solids, liquids, gases ; also
|
||
|
|
|
||
|
|
ible World :
|
||
|
|
|
||
|
|
( Land, water, sky.
|
||
|
|
|
||
|
|
1 6. In the foregoing the Dual divisions are contrasts and the Trinal divisions, gradations. Thus we see that nature, though at first thought it seems to be lawless in its wonderful freedom, is after all governed by the most absolute law, all her
|
||
|
|
great machinery working with m.athematical precision, her fountains, cataracts, etc., describing parabolic curves, her worlds mov-
|
||
|
|
ing in elliptical spirals through the heavens and around some centre of unity, while the force of Gravitation, Light y etc., is
|
||
|
|
|
||
|
|
SYNOPSIS OF HARMONIC LAWS. 79
|
||
|
|
inversely as the square of the distance from the influencing orb. We may fire a cannon ball into the air in any possible direction, or at any rate of speed, and not for a moment can we make it vary from the most absolute gradation of motion, while if sent in any but a vertical pathway, it will describe also a perfect gra-
|
||
|
|
dation ofDirection, following nature's favorite and beautiful curve of the parabola. The rainbow rears its semi-circle and assigns just such a relative width to each color throughout, each tree approximates the form of an ellipse, or oval, or spire, or many sections of an oval, while every leaf and blade of grass and flower
|
||
|
|
is carved out and posed on the most exquisite principles, in general after some one or more sections^ of a cone. r/. Harmony of colors is now a science. It should no longer
|
||
|
|
be said that this and that combination of colors is a mere matter
|
||
|
|
of taste. Of course taste must iiave something to do with it, as the principles of harmony may not always be correctly applied without it, but certain rules can be laid down which place many points beyond guess work or caprice of taste. Ladies of refined
|
||
|
|
taste have in general a perception of colors and their harmonious relations quite superior to that possessed by gentlemen,
|
||
|
|
partly from having more practice with colors, and partly from possessing a finer intuitional nature. In fact some of our sex will need all the rules and all the science they can command on the subject, to enable them to equal in chromatic taste many ladies who have had no rules excepting what their finer perceptions have given them.
|
||
|
|
|
||
|
|
So
|
||
|
|
|
||
|
|
THEORIES OF LIGHT AND FORCE.
|
||
|
|
|
||
|
|
CHAPTER SECOND.
|
||
|
|
INSUFFICIENCY OF THE PRESENT THEORIES OF LIGHT AND FORCE.
|
||
|
|
I.— Science and Philosophy should be Combined.
|
||
|
|
1. Scientists are spanning more and more of the universe and weighing and measuring all things in their scales. Their acu-
|
||
|
|
men in many fields of investigation has been so marvelous that all men have had to bow to their authority. From their labori-
|
||
|
|
ous researches in many directions I have received great instruction and shall ever be grateful for the immense assistance which I have derived from them in the various fields of human thought. 2. While I would look with this admiration upon their efforts and with all humility upon my own powers as being quite in-
|
||
|
|
competent totread in many fields which they have graced, still it seems to me that they have failed to reach fundamental principles. Not for a moment would I do so base a thing as to disparage others in order to establish any theory of my own, for Truth, supreme Truth is the great central light, and let no man dare to hide or falsely color a single one of its radiant lines. It seems to me that they have not sufficiently combined philosophy with their science, so that their facts might be crystallized into great truths by comprehensive generalizations, but have dwelt too much upon external specialties, as Agassiz himself once admitted.
|
||
|
|
3. Ancient sages scorned as vulgar the Inductive Process of Reasoning which brought them down to every day facts and gener-
|
||
|
|
ally adopted the Dedtictive Method. Since Lord Bacon's teachings have been given to the world men have swung to the other ex-
|
||
|
|
treme of induction. It seems not to have occurred to many people that induction and deduction should never be divorced — that we should look upward to causes and downward to effects with the same glance as far as possible using the intuitional and
|
||
|
|
|
||
|
|
CHEMICAL AFFINITY.
|
||
|
|
|
||
|
|
8i
|
||
|
|
|
||
|
|
reasoning nature to grasp
|
||
|
|
|
||
|
|
invisible "
|
||
|
|
|
||
|
|
/'//zV/^j-," which
|
||
|
|
|
||
|
|
constitutes the positive principle of power, and the perceptives to
|
||
|
|
|
||
|
|
grasp the outward body of things which constitutes the negative
|
||
|
|
|
||
|
|
principle.
|
||
|
|
|
||
|
|
4. While delving so much in the cruder elements of matter,
|
||
|
|
|
||
|
|
the interior lightning which gives it potentiality eludes the grasp
|
||
|
|
|
||
|
|
of many of our scientific men. Although all force in its primary
|
||
|
|
|
||
|
|
principle thus lies with the fine invisible elements, they too often
|
||
|
|
|
||
|
|
flee from these with seeming alarm, and cling to the mere skeleton of power which dwells with the gross and the tangible.
|
||
|
|
|
||
|
|
II. — Basic Principles not yet Reached. Cohesion.
|
||
|
|
|
||
|
|
Is my judgment harsh 1 Have they arrived at the fundamental laws of any style of power whatever f Take a silver dol-
|
||
|
|
lar, for instance, and ask them what makes its atoms cling together with such tremendous tenacity. A weight of ten
|
||
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thousand pounds would not press or pull them apart. Do they say cohesion f But that is only a word. What causes the cohe-
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sion }We are as badly off as ever. If we understood the nature
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of cohesion, we should begin to understand something of chemistry. Ifa substance decays it falls to pieces. Where is cohesion
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now }
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III. — Chemical Affinity.
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If a piece of zinc is put into sulphuric acid the water is set to boiling, countless bubbles rise, and the metal is soon torn tc
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pieces. How is this done.!* Chemical affinity is the answer. But what is the law of chemical power by which such things are done ^ Here again the scientific world comes to a dead halt.
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" Chemical force, like other force cannot be described," says Dr. Attfield, for like them it is known only by its effects."
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" Chemical affinity, like all great forces in nature," says T. P. Barkas F. G. S., " is perfectly incomprehensible." " Notwith-
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standing our boasted advances in science," says Prof. Robert
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Hunt, of the
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" we have scarcely arrived powers which regulate the
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at any satisfactory internal conditions
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knowledge of matter.
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The molecular forces are almost entirely beyond our concep-
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tions."
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6
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82
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THEORIES OF LIGHT AND FORCE.
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IV. — Electricity.
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1. Being badly at sea then with reference to chemical forces^ how is science with reference to the great power of Electric-
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ity Scientists are still quite undecided as to whether electricity is a single fluid on the theory of Franklin, or two fluids on the theory of Dufay, or no fluid at all but simply a vibration of polarized atoms. If the atoms are polarized, what polarized them ?
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2. How are the vibrations started and continued ? Just how
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does friction excite electricity ? Does the instrument that frictionizes take hold of the fluid and move it along ?
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3. What is the law of movement with electricity, over the surface of atoms, through their axial portion or how ?
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4. How is IndiLction produced, and how CondiLction, and Attraction, and Repulsion, and Magnetism and Diamagnetism ?
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5. Ampere admits that Magnetism is one form of Electricity. Certainly, but what form is it, how are are its curves produced and how can steel hold its magnetism permanently while iron cannot ?
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6. Has any one ever yet received an exact idea of what is meant by positive and negative Electricity
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7. Is Electricity a cold or warm principle f If cold^ why does it sometimes produce the greatest heat known to man ? If warm, whence its contractive power ?
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8. Electrical science, then, is still in a vague condition and the unfortunate thing about it is that many writers on the sub-
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ject are quite unaware of its imperfections and affirm that " all the facts of Electricity can be explained by either Franklin's or Dufay's theory." We have seen that none of the leading facts can be exactly explained by them.
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V. Gravitation.
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1 . But how about Gravitation t Cannot scientists explain
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this ubiquitous principle.'* Are all possible objects saturated with it, and yet nothing known of how its potencies are exerted
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2. Some say that magnetism is the secret, each sun and planet being an immense magnet. But magnetism and gravitation must be vastly different things, ist, because magnetism reaches only
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